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Manufacturer  of 

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Gatherings  from  an  Artist’s  Portfolio. 

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One  volume,  16mo.  -  -  -  -  -  Cloth  $1.25. 


“  The  gifted  American  artist,  Mr.  James  E.  Freeman,  who  has  for  many 
years  been  a  resident  of  Lome,  has  brought  together  in  this  tasteful  little 
volume  a  number  of  sketches  of  the  noted  men  of  letters,  painters,  sculptors, 
models,  and  other  interesting  personages  whom  he  has  had  an  opportunity  to 
study  during  the  practice  of  his  profession  abroad.  Anecdotes  and  remi¬ 
niscences  of  Thackeray,  Hans  Christian  Andersen,  John  Gibson,  Vernet, 
Delaroche,  Ivanoif,  Gordon,  the  Princess  Borghese,  Crawford,  Thorwaldsen, 
and  a  crowd  of  equally  famous  characters,  are  mingled  with  romantic  and 
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Italian  society,  or  of  the  humble  ranks  from  which  artists  secure  the  models 
for  their  statues  and  pictures.” — New  York  Tribune. 

“  ‘An  Artist’s  Portfolio’  is  a  charming  hook.  The  writer  has  gathered 
incidents  and  reminiscences  of  some  of  the  master  writers,  painters,  and 
sculptors,  and  woven  them  into  a  golden. thread  of  story  upon  which  to  string 
beautiful  descriptions  and  delightful  conversations.  He  talks  about  Leslie, 
John  Gibsoiij  Thackeray,  and  that  inimitable  writer,  Father  Prout  (Mabonyj, 
in  an  irresistible  manner.” — New  York  Independent. 


New  York:  D.  APPLETON  &  CO.,  1,  3,  &  5  Bond  Street. 


^pplctmrs’  Jpotw  Daohs 


HOME  DECORATION 


ART  NEEDLEWORK  AND  EMBROIDERY;  PAINTING  ON  SILK,  SATIN, 
AND  VELVET;  PANEL-PAINTING ;  AND  WOOD-CARVING. 


BY 

JANET  E.  RUUTZ-KEE3. 

AUTHOR  OF  ‘“HORACE  VERNET,”  ETC. 


WITH  NUMEROUS  DESIGNS,  MAINLY  BY  GEORGE  GIBSON. 


NEW  YORK: 

D.  APPLETON  AND  COMPANY, 

1,  3,  and  5  BOND  STEEET. 

1881. 


COPYRIGHT  BY 


D.  APPLETON  AND  COMPANY, 

1881. 


THE  GETTY  CENTER 
LIBRARY 


CONTENTS. 


I. — Introductory  . 

II. — General  Remarks  . 

III.  — Materials  and  Prices 

IV.  — Stitches  and  Methods 

V. — Window-Hangings  and  Portieres 

VI. — Screens  .... 

VII. — Lambrequins  and  Small  Panels 

VIII. — Incidental  Decorations  . 

IX. — Wood-carving  . 


PAGE 

5 

7 

20 

25 

42 

63 

87 

98 

114 


Digitized  by  the  Internet  Archive 
in  2018  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/homedecorationarOOruut_O 


HOME  DECORATION. 


i. 


INTRODUCTORY. 

The  spirit  of  beauty  is  abroad,  and  tbe  desire  to  in¬ 
crease  the  attractions  of  every-day  homes  grows  greater 
from  year  to  year.  People  have  awakened  to  a  percep¬ 
tion  that  taste  in  ornament  and  skill  in  decoration  are 
not  so  much  gifts  as  faculties  which  can  be  cultivated, 
and  which,  once  awakened,  rarely  sleep  again. 

The  impetus  given  to  decorative  art  within  the  last 
fifty  years  has  outlived  many  extravagances  and  absurdi¬ 
ties,  and  the  time  has  come  when  the  highest  principles 
of  ornament  are  applied  to  every-day  use.  Houses  are 
very  often  intractable  things  to  deal  with,  badly  built  or 
ill-arranged,  with  little  of  architectural  merit,  either  in 
design  or  execution,  and  yet  the  love  of  beauty,  the  striv¬ 
ing  to  make  the  best  of  what  is  unavoidable,  will  convert 
a  desert-like  structure  of  mere  brick  and  mortar  into  a 
bower  of  elegance  and  prettiness,  and  this,  too,  without 
any  great  outreaching  or  expense. 

The  beauty  of  home  decoration  lies  not  so  much  in 
the  richness  and  variety  of  the  materials  pressed  into  the 


G 


HOME  DECORATION. 


service  as  upon  two  tilings  which  are  too  often  disre¬ 
garded — simplicity  and  harmony — to  which  we  may  add 
that  desire  to  express  an  idea  or  that  imagination  which 
at  once  converts  the  lowest  effort  into  the  highest  by 
making  it  individual. 

Much  can  he  done  for  home  decoration  hy  the  use  of 
simple  means,  and  in  this  manual  we  shall  restrict  our¬ 
selves  to  work  which  can  he  undertaken  in  the  home  for 
the  home,  leaving  on  one  side  that  which  requires  elabo¬ 
rate  study  or  special  preparation,  as,  for  example,  china 
painting,  enamel,  and  faience  work — in  short,  all  ceram¬ 
ics — and  devote  our  attention  to  the  great  variety  of 
ornamental  work  that  can  he  achieved,  hy  the  needle  in 
embroideries,  hy  the  brush  in  paintings  on  silk,  velvet, 
or  wood,  hy  the  saw  in  delicate  wood-work,  or  hy  the 
ornamental  use  of  leather.  Even  with  such  restrictions 
the  field  is  a  wide  one,  so  various  are  the  materials  that 
can  he  used,  the  stitches  that  can  he  learned,  the  designs 
that  can  be  elaborated. 

First  of  all,  we  may  lay  it  down  as  a  principle  that 
the  useful  should  underlie  the  ornamental.  A  beautiful 
thing,  which  has  grown  out  of  a  definite  need,  is  more 
beautiful  than  that  which  has  only  its  beauty  to  recom¬ 
mend  it ;  so,  in  home  decoration,  that  which  first  strikes 
the  mind  is  the  appropriateness  or  fitness  of  an  ornament 
to  the  needs  of  the  home,  and  we  at  once  perceive  that 
what  we  may  call  the  main  features  are  more  important 
than  the  hundred  and  one  knickknacks  and  fancy  adorn¬ 
ments,  without  which,  however,  the  beauty  of  the  home 
would  he  incomplete,  and  which  can  be  multiplied  indefi¬ 
nitely. 


GENERAL  REMARKS. 


j Embroidery.  Designing. — The  easist  and  most  pop¬ 
ular  form  of  home  decoration  is  that  which  can  he  ac¬ 
complished  by  the  needle.  And  as  long  as  the  question 
to  be  considered  is  one  of  material  and  color  only,  a  sense 
of  harmony  and  taste  for  simplicity  will  be  infallible 
guides,  but  in  the  matter  of  design  some  knowledge  of 
art-principles  is  necessary ;  at  the  least  it  is  desirable  to 
understand  the  meaning  of  terms  constantly  met  with  in 
suggestions  for  decorative  needle- work. 

We  will  suppose  a  case  in  which  the  needle  is  to  be 
the  prime  agent  in  adorning  the  home.  The  question  of 
embroidery  is  taken  up  enthusiastically,  and  the  novice 
in  such  matters  hears  a  great  deal  about  art  needle-work , 
conventional  and  natural  designs,  and  becomes  fairly 
puzzled  as  to  the  real  meaning  of  the  directions  that  are 
given.  What  is  meant  by  art  needle-work  f  and  what  is 
the  difference  between  a  conventional  design  and  any 
other  ?  Decorative  needle- work  is,  in  fact,  only  a  revival 
of  the  ancient  art  of  embroidery,  and  is  founded  upon 
the  study  of  ancient  models  ;  and  the  word  conventional , 
in  connection  with  designs  for  execution  by  the  needle, 
signifies  the  method  of  altering  natural  forms  in  such  a 
way  as  to  render  them  suitable  to  the  material  upon 


8 


HOME  DECORATION'. 


which  they  are  to  be  worked,  and  to  the  purposes  for 
which  they  are  intended. 

Some  little  knowledge  of  the  principles  of  elementary 
drawing  and  a  sufficient  idea  of  geometrical  proportion 
are  alone  needed  to  enable  the  simplest  beginner  to  de¬ 
sign  conventionally,  for  the  use  of  the  needle  necessarily 
limits  the  subjects  that  can  be  treated.  It  has  been 
proved  by  experience  that  flowers,  foliage,  or  fruit  can 
not  be  represented  in  embroidering  exactly  as  they  are  in 
nature.  As  in  sculpture  the  artist  does  not  attempt  to 
reproduce  as  minutely  as  the  painter,  so  in  needle-work 
the  designer  must  be  content  to  attempt  such  reproduc¬ 
tion  as  is  possible  for  the  process  and  material  which  are 
to  be  employed.  It  is  just  this  recognition  of  limitation 
which  is  meant  by  the  term  conventional.  In  early  days, 
for  example,  in  architecture,  the  flrst  expression  was  mere 
outline-form,  giving  the  geometrical  proportions  of  the 
subject  represented ;  then,  as  the  art  progressed,  such 
adaptations  were  so  varied  and  intermingled  that  only  a 
careful  student  can  trace  the  graceful  curves  and  twists 
back  to  the  first  rigid  geometrical  outline.  So,  in  con¬ 
ventional  needle-work  designs,  some  object  from  nature 
is  selected,  usually  a  flower  or  leaf,  and  its  geometrical 
outline  considered  apart  from  everything  else.  Taken  as 
the  basis  of  the  pattern,  this  outline,  arranged  in  different 
forms,  produces  a  design  in  which  it  requires  some  knowl¬ 
edge  of  the  principle  to  trace  the  original. 

The  conventionalizing  of  a  flowTer  or  leaf,  then,  simply 
means  the  use  of  its  form  in  an  arbitrary  fashion,  and, 
as  such  an  arrangement,  to  have  any  value  as  a  work  of 
art,  must  be  original,  it  is  impossible  to  give  more  than 
general  rules  for  conventional  adaptation.  The  first 
point  the  student  of  design  would  be  called  upon  to  de- 


GENERAL  REMARKS. 


9 


cide  would  be  the  leading  lines  or  stems  which  are  to 
form  the  basis  of  the  contemplated  pattern.  These  once 
selected  from  the  geometrical  outline  of  a  leaf,  for  ex¬ 
ample,  could  be  variously  treated  ;  they  might  be  branched 


out  in  a  form  of  angular  severity  as  shown  in  Fig.  1,  or 
in  a  more  flowing  style  as  represented  in  Fig.  2,  their 
geometrical  symmetry  being  carefully  preserved. 

It  will  be  at  once  clear  that  such  adaptations  would 
admit  of  infinite  variety  according  to  the  character  and 
arrangement  of  the  foliage  with  which  the  design  is 
supplemented,  the  branching  alone  being  in  absolute  ac¬ 
cordance  with  the  order  of  nature,  and  flowing  always 
in  one  direction,  while  the  design  which  radiates  from  it, 
or  clothes  it,  may  be  varied  in  accordance  with  individ¬ 
ual  taste  and  judgment.  Thus,  in  the  example  of  the 
natural  violets,  as  shown  in  Fig.  3,  we  have  in  Fig.  4  a 
conventional  adaptation  of  the  same  flower  for  treatment 
by  the  needle,  in  which  the  geometrical  proportions  of 
the  leaves  are  taken  to  form  the  branching  lines  or 


10 


HOME  DECORATION. 


stems,  while  the  design  with  which  these  are  clothed, 
or  supplemented,  is  only  remotely  derived  from  the  nat¬ 
ural  leaf,  and  is  entirely  original  in  conception  and  treat¬ 
ment. 

The  geometrical  rules  applied  to  such  objects  as  may 
be  chosen  necessarily  include  proportion,  symmetry,  and 
the  proper  relation  of  one  part  of  the  figure  to  another ; 
but,  these  principles  once  thoroughly  learned,  a  little 


Fig.  3.— Violets — Natural  Forms. 


practice  will  enable  the  student  of  art  needle-work  not 
only  to  design,  but  to  recognize  what  are  really  true  de¬ 
signs,  correctly  conventionalized,  and  what  are  simply 
natural  objects,  naturally  copied.  Roughly  speaking, 


GENERAL  REMARKS. 


11 


there  are  two  methods  of  treating  natural  forms  by  the 
needle.  The  most  suitable,  for  less  proficient  workers, 
may  be  termed  the  natural  treatment,  where  convention¬ 
alism  is  limited  to  the  degree  that  is  absolutely  necessary 


Fio.  4.— Conventional  Forms  derived  from  the  Violet. 

on  account  of  the  material  used  and  the  shape  and  size 
of  the  article  to  be  worked,  and  the  more  severely  con¬ 
ventionalized  treatment  in  which  natural  forms  are  made 
the  basis  of  a  less  formal  design  which  is  carried  out  in 
2 


12 


HOME  DECORATION. 


various  directions.  By  this  latter  method  very  beautiful 
patterns  can  be  made,  but  it  necessarily  requires  both 
knowledge  and  experience. 

The  object  of  this  little  book  is  not,  however,  to  teach 
the  art  of  designing,  and  we  must  be  content  to  give 
sueb  directions  as  to  suitable  designs  and  coloring,  ap¬ 
propriate  materials  and  styles,  etc.,  as  may  serve  as  guides 
in  the  difficult  matter  of  selection.  Taking  it,  then,  as 
established  that  flowers  and  foliage  are  the  most  desirable 
objects  for  reproduction  by  embroidery,  we  may  go  on 
to  say  that  the  simplest  flowers  are  the  best,  because  they 
can  be  most  fully  expressed  in  a  few  lines  in  outline, 
and  require  the  fewest  shades  of  color.  Double  flowers 
are  alike  unsuitable  and  difficult.  Wild  roses,  daisies, 
lilies,  pansies,  sunflowers,  and  daffodils  are  all  easily  out¬ 
lined,  having  strong  forms  and  decided  proportions,  -and 
are  admirably  adapted  for  the  purpose. 

Attention  to  detail  is  essential :  before  commencing  a 
pattern,  the  worker  should  note  the  shape  and  size  of  the 
leaves,  the  notches  of  the  edges,  the  chief  characteristics 
of  the  design,  and,  above  all,  the  junction  of  leaves  and 
flowrers  with  the  stalks.  The  truth  and  life  of  the  repre¬ 
sentation  depend  largely  upon  such  trifling  details,  and 
especially  in  outline  work  they  are  most  important. 

Many  beautiful  combinations  are  made  with  berries 
and  their  leaves,  and  a  very  little  practice  in  simple 
flower-forms  will  soon  suggest  a  variety;  in  u filled-m” 
embroidery — that  is,  in  work  in  which  the  flowers  and 
leaves  are  not  only  outlined,  but  fully  worked — the  va¬ 
cant  spaces  should  be  left  larger,  as  the  material  becomes 
a  little  contracted  in  the  working.  Designs  for  outline 
work  may  be  more  closely  drawn,  but,  whether  intended 
for  the  one  or  the  other,  they  must  be  very  exactly  and 


GENERAL  REMARKS. 


13 


carefully  reproduced,  for  everything  depends  upon  the 
grace  and  truth  of  the  form. 

For  border  designs,  if  they  are  intended  for  an  hori¬ 
zontal  position,  upright  sprigs  or  flowers  are  the  best,  and 
such  patterns  require  a  line  below  and  above  to  keep 
them  together ;  otherwise  they  will  look  disjointed,  and 
each  sprig  will  appear  too  independent  of  the  rest.  The 
flowers  need  not  spring  directly  from  the  line,  but  the 
effect  will  be  as  controlling  as  if  they  really  touched  it. 
If  the  pattern  is  large,  several  lines  are  an  improvement, 
as  they  give  more  weight  to  the  lower  part.  Scroll  bor¬ 
ders  also  require  a  line  on  each  side.  Sometimes  an 
equally  good  result  is  obtained  by  the  scroll  being  worked 
on  separate  strips  of  material  and  laid  on,  by  which  means 
the  same  idea  of  inclosure  is  conveyed.  Inaccuracies  should 
be  carefully  avoided ;  although  nature  can  not  be  exactly 
copied  in  needle-work,  still  it  need  never  be  outraged. 
For  example:  a  strawberry-leaf  in  combination  with  a 
carnation-bud  is  absurd — a  convolvulus  with  a  thorny 
brier ;  or,  as  in  a  pattern  submitted  to  us  the  other  day, 
a  pineapple  surrounded  by  primroses  and  violets,  or  any 
other  effect  which  is  alien  to  reality  should  be  avoided. 
It  is  often  necessary  to  enlarge  flowers,  but  in  this  there 
is  no  sin  against  truth,  for  they  may  be  enlarged  in  proper 
proportions,  and  all  those  in  a  group  should  be  made  of 
corresponding  size.  As  we  have  shown,  to  convention¬ 
alize  does  not  mean  to  depart  from  nature,  but  to  adapt 
from  nature,  and  good  conventional  work  is  always  true 
in  principle.  Although  flowers,  foliage,  and  berries  are 
undoubtedly  the  easiest  subjects  for  embroidery,  many 
natural  objects  can  be  associated  with  them ;  birds  and 
butterflies  are  very  appropriate,  especially  the  latter,  as 
they  can  be  made  to  harmonize  with  almost  any  flowers ; 


14 


HOME  DECORATION. 


but  the  mixture  of  birds  and  flowers  of  different  climates 
should  be  avoided. 

Next  in  importance  to  the  design  comes  the  question 
of  color. 

Colors  in  Embroidery . — As  a  conventionalized  form 
is  a  necessity  in  copying  from  nature,  so,  too,  is  a  con¬ 
ventionalized  coloring,  because  it  is  impossible  in  many 
cases  to  give  the  natural  coloring  of  a  flower  or  leaf  ;  even 
when  we  are  able  to  reach  the  general  tone,  the  subtile 
gradations  are  beyond  us.  Then,  too,  we  have  to  con¬ 
sider  the  surroundings ;  our  worked  flowers  must  be 
adapted  to  the  indoor  atmosphere,  for  they  will  not  have 
the  clear  air,  the  sunlight,  and  their  natural  texture  to 
make  them  delightful.  Pure  color  transferred  to  needle¬ 
work  would  be  glaring  and  offensive — in  addition  to 
winch  we  must  remember  that  nature  has  no  raw  col¬ 
or,  and  her  beauties  are  entirely  dependent  upon  subtile 
mixtures  which  it  is  quite  impossible  to  attain  in  the 
finest  shades  of  silk  or  wool.  Therefore,  it  is  best  to  be 
content  with  suggestions  only  from  nature,  and  avoiding 
too  close  a  copy  to  chose  our  colors  with  regard  to  their 
general  harmony.  Harmony  and  simplicity  being  the 
first  principles  of  decorative  design,  the  treatment  of  the 
subject  being  conventional,  the  coloring  should  be  so  too. 

The  ground-color  must  regulate  the  general  tone,  and 
this  must  often  depend  upon  the  purpose  for  which  the 
work  is  intended ;  for  example :  in  curtains  everything 
should  bear  relation  to  the  dominant  tone  of  the  room. 
The  prevailing  color  having  once  been  determined,  the 
details  should  be  rather  in  harmony  than  in  contrast 
with  it. 

Variations  in  different  tones  of  one  color  will  be  more 
satisfactory,  as  a  rule,  than  striking  contrasts,  and  for  this 


GENERAL  REMARKS. 


15 


reason  the  graduated  shades  which  are  to  be  obtained  in 
well-assorted  crewels  and  silks  will  be  found  a  great  as¬ 
sistance  in  carrying  out  an  harmonious  design.  Laying 
it  down  as  indispensable  that  the  prevailing  ground-tone 
should  regulate  the  colors  of  the  entire  work,  it  may  be 
added  that  it  is  always  best  to  avoid  strong  patches  of 
vivid  coloring.  Crimsons,  bright  reds,  yellows,  blues, 
and  vivid  greens  should  be  used  sparingly,  and  only  in 
such  combinations  as  shall  insure  pleasant  and  not  painful 
contrast. 

But  coloring  is  altogether  so  much  a  matter  of  indi¬ 
vidual  taste  and  judgment  that  it  is  scarcely  possible  to 
lay  down  any  fixed  rule  that  shall  meet  all  contingencies ; 
at  the  same  time  a  few  suggestions  for  pleasant  contrasts, 
gathered  from  the  work  of  a  scientific  authority  upon  com¬ 
binations  of  color,  may  be  of  great  value  to  the  uniniti¬ 
ated.*  The  contrasts  which  we  find  in  nature  very  often 
cease  to  be  happy  when  conveyed  to  canvas  in  painting, 
and  still  often  er  so  when  attempted  in  colored  materials, 
such  as  silks  or  wools.  Green  and  blue,  for  example, 
which  are  charming  when  represented  by  the  sky  peep¬ 
ing  through  bright  foliage,  are  by  no  means  so  delightful 
in  decorative  work,  for  the  reason  that  the  subtile  grada¬ 
tions  of  shades,  which  we  do  not  take  into  account,  but 
which,  nevertheless,  exist  in  nature,  are  impossibilities  in 
needle-work ;  in  fact,  we  can  not  realize  in  a  landscape 
what  the  color-combinations  really  are,  so  deceptive  are 
the  lights  and  shadows  that  surround  and  soften  them. 
In  contrasting  wools  or  silks,  then,  vermilion  and  any 
deep  reds  give  a  good  combination  in  contrast  with 
blue.  Yellows  are  best  contrasted  with  violet  or  pur- 


*  “  Modern  Chromatics.”  By  Ogden  N.  Rood. 


16 


HOME  DECORATION. 


pie.  Orange  in  combination  with  dark  blue  is  not  un¬ 
pleasant,  and  it  is  also  pleasant  in  association  with  green. 
Vivid  green  with  violet  is  good  upon  a  strictly  neutral 
background,  but  it  is  better  to  employ  the  paler  hues  of 
these  colors.  Green  and  red  afford  a  good  contrast,  while 
with  either  of  them  in  combination  with  blue  or  yellow 
very  unsatisfactory  results  are  obtained.  If  a  further 
combination  is  desired,  the  triads  which  have  been  most 
extensively  used  together  are :  bright  red,  yellow,  and 
blue ;  purple-red,  yellow,  and  dark  blue ;  orange,  green, 
and  violet,  and  orange,  green,  and  purple.  Many  other 
combinations  could,  of  course,  be  suggested,  but  such 
as  have  been  mentioned  may  serve  as  guides  to  others. 
White  or  gray,  in  combination  with  any  of  these  colors, 
could  be  introduced  with  the  happiest  results.  But  suc¬ 
cess  in  the  matter  of  color  must  be,  in  a  great  measure, 
the  result  of  education,  taste,  and  practice.  It  is  so  ex¬ 
tremely  difficult  to  judge  of  the  effect  produced  by  any 
combination,  when  the  result  attained  is  dependent  upon 
such  unreliable  things  as  colored  silks  and  wools,  that 
wise  judgment  in  decorative  needle-work  is  of  the  great¬ 
est  value  and  importance.  In  doubtful  cases  it  is  best 
to  seek  advice  from  those  whose  practical  acquaintance 
with  the  difficulties  of  embroidery  has  taught  them  more 
than  can  be  acquired  from  any  treatise  on  the  subject. 
In  this,  as  in  almost  all  else,  a  grain  of  experience  is 
worth  more  than  a  bushel  of  the  wisest  directions. 

Painting  on  Wood  for  Panels. — Old  and  well-sea¬ 
soned  wood  is  the  best  for  panel-painting.  The  natural 
color  of  the  wood  is  most  effective  as  a  background. 
Taste  and  judgment  are  required  to  make  such  painting 
satisfactory ;  and  it  should  not  be  forgotten  that  panels 
being  at  best  merely  decorative,  to  be  appropriate  must 


GENERAL  REMARKS. 


17 


be  subordinate  to  the  purposes  of  the  room.  Glaring, 
highly-colored  panels  are  most  offensive. 

The  implements  necessary  in  panel-painting  are,  or¬ 
dinary  red  sable  brushes,  a  coarser  quality  for  painting 
the  backgrounds,  and  the  usual  oil-colors  in  tubes.  To  all 
novices  in  the  art  the  same  caution  can  not  be  too  often 
repeated.  Relinquish  ambitious  attempts  at  etfect ;  re¬ 
member  that  your  painting  is  to  play  a  subordinate  part 
in  the  decoration  of  the  room,  wherever  it  may  be  placed, 
whether  upon  the  door  itself,  upon  a  side-panel,  or  as  an 
ornament  upon  the  mantel,  or  wall.  Harmony,  and  not 
striking  brilliancy  of  color,  should  be  your  object,  and 
such  subjects  as  will  blend  well  with  ordinary  decoration 
should  be  chosen  for  treatment. 

Tor  backgrounds,  softly-toned  blues,  grays,  or  greens 
are  best,  writh  fleecy-white,  touched  into  warmth  by 
deeper  colors. 

Painting  on  Wood  in  Water-colors. — The  most  suit¬ 
able  wood  for  such  a  purpose  for  amateurs  is  the  white 
chestnut  in  the  natural  color,  and  the  design  should  be 
first  outlined  in  pencil.  This  done,  the  surface  should  be 
thoroughly  cleaned,  and  the  colors  mixed  with  Chinese 
white,  which  renders  them  opaque.  The  darker  shades 
should  be  painted  on  first,  and  from  them  the  ascent  made 
to  the  highest  lights.  A  very  fine  luster  can  be  given  to 
the  panel  if  a  coat  of  patent  white  glaze  is  applied  to  the 
entire  surface,  the  operation  to  be  repeated  as  soon  as  the 
first  coating  is  dry,  and  completed  by  the  application  of 
white  spirit  varnish  with  a  soft,  yielding  brush.  When 
this,  in  its  turn,  is  thoroughly  dry,  another  coating  should 
be  worked  from  side  to  side,  until  the  requisite  polish  is 
attained. 

Yeneered  tables  can  be  elegantly  decorated  either  in 


18 


HOME  DECORATION. 


water-  or  oil-colors,  tlie  surface  being  ebonized  as  soon  as 
tlie  colors  are  dry. 

Painting  on  Silk,  Satin,  and  Velvet. — When  oil- 
paint  is  to  be  used,  it  is  a  wise  plan  to  begin  by  squeezing 
the  tube  colors  on  blotting-paper,  that  it  may  absorb  the 
oil,  as  there  is  always  a  risk  of  staining  the  material. 
The  highest  general  color  to  be  used  should  be  chosen 
first,  then  one  rapid  sweep  of  the  brush  should  give  as 
much  effect  as  can  be  conveyed ;  the  brush  should  be 
carried  right  across  the  material  with,  and  not  against, 
the  grain.  The  deepest  shadows  should  be  the  last  put 
on.  Blending  colors  upon  silk  or  satin  is  so  difficult  that 
it  is  best  done  upon  the  palette.  By  using  a  very  stiff 
brush  it  is  possible  to  produce  beautiful  results  upon 
plush,  but  the  color  must  sink  well  in,  and  it  is  rather  a 
difficult  operation.  Feathers  are  often  very  beautifully 
painted,  especially  on  fans. 

Sateen  is  one  of  the  best  materials  for  painting  in 
water- colors,  as  it  is  soft  and  takes  the  color  so  readily 
that  elaborate  designs  are  possible  in  its  decoration. 

Linens,  too,  take  color  well,  and  pretty  designs  in 
panels  are  excellent  for  bedroom  and  nursery  screens.  In 
painting  on  silk,  satin,  or  velvet,  the  best  materials 
should  always  be  selected.  The  surface  to  be  decorated 
should  be  stretched  tightly  upon  a  flat  board,  and  the 
design  outlined  in  pencil ;  or,  better  still,  transferred  by 
means  of  red  or  blue  paper.  The  greatest  difficulty  in 
water-color  painting  is  the  risk  of  the  color  spreading, 
but  this  is  in  a  measure  obviated  by  mixing  Chinese 
white  with  the  colors.  In  figure-painting  it  is  well  to 
begin  with  the  heads  ;  in  landscape,  with  the  sky. 

Painting  on  canvas,  to  imitate  tapestry,  is  coming 
into  fashion.  Landscapes  and  bold  designs  are  the  best 


GENERAL  REMARKS. 


19 


for  this  purpose,  such  work  being  executed  upon  pliable 
ribbed  canvas,  which  has  undergone  especial  preparation, 
and  the  colors  are  regularly  rubbed  into  the  background. 
It  is  difficult  to  produce  delicate  effects,  as  it  is  almost 
impossible  to  give  minute  touches.  The  colors  used  in 
this  work  are  in  reality  liquid  dyes. 


III. 


MATERIALS  AND  PRICES. 

Great  liberty  of  choice  is  possible  in  regard  to  the 
materials  used  as  foundation  for  embroideries,  some  kinds 
being  more  especially  appropriate  to  one  purpose,  some 
to  another,  and  much  must  depend  not  only  upon  the 
destination  of  the  work,  but  upon  the  choice  of  silks  or 
worsteds  in  the  working. 

While  it  is  a  mistake  to  select  inferior  stuffs  for  deco¬ 
ration,  it  is  an  equal  error  to  use  inferior  silks  or  crewels 
upon  handsome  materials.  Fine  linen  calls  for  fine 
crewels  or  silks.  Satin  and  velvet  look  incongruous  if 
worked  in  coarse  worsted  or  crewels ;  for  these  the  finest 
silks  and  filoselles  should  be  selected.  It  is  bad  economy 
to  buy  inferior  qualities  of  such  materials;  the  best,  and 
only  the  best,  are  suitable  for  all  the  time  and  trouble  be¬ 
stowed  upon  an  elaborate  design.  Good,  firm,  well-woven 
textures,  free  from  all  irregularity,  are  the  only  suitable 
materials  for  decorative  needle-work.  They  need  not 
necessarily  be  expensive ;  it  is  only  needful  that  they 
should  be  the  best  of  their  kind,  and  that  they  should  be 
treated  suitably,  and  used  for  purposes  not  out  of  keep¬ 
ing  with  their  qualities. 

Satins  and  silks  can  only  be  properly  embroidered  in 
a  frame.  Furniture  satin  with  a  cotton  back  maybe  used 
without  lining,  but  ordinary  dress-satin  requires  a  thin 


MATERIALS  AND  PRICES. 


21 


cotton  backing  or  it  will  pucker  under  the  strain  of 
working.  White  satin  embroidered  in  colored  silks  is 
very  beautiful. 

As  it  is  always  worth  while  for  good  embroidery  to  be 
upon  durable  material,  linens  are  better  than  cottons,  and 
mixed  stuffs  are  not  desirable.  Thick  diagonal  cloth  or 
serge  of  the  best  quality  is  very  suitable  either  for  silk  or 
for  crewel  work,  and  is,  in  addition,  easily  worked,  which 
becomes  a  great  consideration  when  the  undertaking  is  a 
large  one,  as,  for  example,  a  pair  of  curtains.  USTo  highly- 
finished  or  glazed  surface  should  be  selected  for  decora¬ 
tion  by  the  needle,  as  the  stitches  do  not  sink  well  into 
the  material,  and  the  glaze  is  very  apt  to  fray  out.  Satin 
forms  the  only  exception  to  this  rule. 

There  are  many  varieties  of  unglazed,  half-bleached 
linens  which  are  extremely  suitable  for  decorative  needle¬ 
work,  of  which  we  may  mention  : 

Flax  cloth ,  the  unbleached  brown  linen  often  used  for 
chair-covers. 

Twill,  a  thick  linen,  suitable  for  furniture  coverings. 

Sail-cloth ,  of  yellow  color,  admirable  for  screen-pan¬ 
els. 

Oat-cake  and  oatmeal  linens ,  which  are  materials  that 
wash  well. 

Smock  linen ,  which  is  fashionable  for  tennis  aprons. 

Crash  is  very  much  used.  It  is,  in  reality,  a  home¬ 
spun,  Russian  linen,  although  other  materials  are  constantly 
sold  under  this  name.  The  true  crash  is  only  eighteen 
inches  in  width,  is  very  coarse,  and  is  spun  by  Russian 
peasants,  in  lengths  varying  from  five  to  ten  yards.  Many 
good  imitations  are  to  be  met  with. 

Bolton ,  or  workhouse  sheeting ,  is  a  beautiful  material, 
very  much  used  in  embroidery  ;  it  is  seventy-two  inches 


22 


HOME  DECORATION. 


wide,  and  is  of  soft,  creamy  color ;  it  is  much  improved 
by  washing. 

Silk  sheeting ,  satin  cle  Chine ,  tussore ,  and  corah  silks , 
and  “fabrics  known  as  plain  tapestry ,  are  all  especially 
suitable  for  the  varieties  of  what  is  known  as  cushion- 
stitch. 

Felt,  which  is  difficult  to  work,  velveteen ,  and  velvet 
cloth,  make  excellent  grounds  for  panels,  portieres ,  bor¬ 
ders,  etc. 

Diagonal  cloth,  serge ,  super-serge ,  and  Canton  flannel, 
the  latter  known  in  the  stores  as  “fashion  drapery,”  as 
well  as  Genoa  or  Lyons  velvet ,  all  form  good  foundations 
for  needle-work,  while  the  latest,  most  fashionable,  and 
most  expensive  material  is  plush,  which  can  be  obtained 
in  every  variety  of  color. 

Gold  and  silver  cloths  are,  of  course,  not  in  ordinary 
use,  but  can  be  obtained  at  high  prices.  A  variety  of 
fabrics,  in  which  silk  predominates,  but  gold  and  silver 
threads  are  interwoven,  are  obtainable,  but  are  more  used 
for  ecclesiastical  or  heraldic  purposes  than  for  home  deco¬ 
ration. 

For  crewel  work,  linen  should  be  just  coarse  enough 
to  allow  the  worsted  to  pass  through  easily. 

Crewels  for  working  should  be  cut  into  short  threads, 
never  more  than  half  the  skein  in  length.  Long  needle- 
fuls  pull  the  material  out  of  shape,  and  are,  besides,  very 
wasteful.  Occasionally  it  is  necessary  to  use  crewel 
double,  in  which  case  it  should  never  be  passed  through 
the  needle  and  knotted  at  the  two  ends,  but  two  separate 
threads  of  the  right  length  should  be  passed  through  the 
needle  together. 

Crewels  of  the  best  quality  only  should  be  used.  In 
these  the  colors  are  fast,  and  will  bear  cleaning  or  washing. 


MATERIALS  AND  PRICES. 


23 


Crewels  are  more  especially  suitable  for  working  upon  all 
kinds  of  linen,  on  plain,  diagonal  cloth,  serge,  and  flan¬ 
nel.  They  are  very  effective  in  combination  with  filoselle 
or  embroidery  silk,  whether  for  working  conventional 
designs  or  where  flowers  are  introduced  into  the  design. 
Leaves  worked  in  crewel  and  the  flowers  in  silk  makes 
a  very  effective  combination. 

Tapestry  wool  is  double  the  thickness  of  crewel,  and 
is  only  useful  for  coarse  work. 

Arrasene  is  a  sort  of  chenille,  and  is  useful  in  pro¬ 
ducing  broad  effects,  being  soft  and  rich  in  appearance. 

Embroidery  or  bobbin  silk  is  used  for  working  upon 
satin  and  silk,  or  upon  any  fine  material ;  it  is  not  unlike 
old-fashioned  floss  silk,  and,  like  it,  is  used  in  several 
threads  at  once. 

Purse  silk  is  less  soft,  but  is  very  useful  in  diapering, 
or  where  raised  effects  are  desirable. 

Filoselle ,  when  of  good  quality,  is  pure  silk,  but,  being 
manufactured  of  inferior  silks,  is  cheaper  than  floss  or 
purse  silk. 

Gold  and  silver  threads  are  little  used,  but  can  be  ob¬ 
tained,  if  desired,  for  raised  gold  or  silver  embroideries. 

Bidlion  is  fashionable,  but  very  difficult  to  use  with 
skill ;  it  should  be  threaded  on  the  needle,  and  fastened 
down  as  in  bead-work.  It  is  occasionally  used  for  the 
backs  and  seats  of  chairs,  upon  deep-toned  velvet,  but 
it  is  so  easily  tarnished  as  to  be  practically  of  little  use. 

The  price  of  material  does  not  vary  greatly  from  time 
to  time.  The  subjoined  prices  are  those  asked,  at  the 
time  this  is  written,  in  the  stores  in  New  York : 

Cotton  momie-cloth ,  fifty  inches  wide,  in  all  the  fash¬ 
ionable  shades,  one  dollar  and  ten  cents  a  yard. 

Woolen  momie-cloth ,  three  dollars  a  yard. 

3 


24 


HOME  DECORATION. 


Felting  which  is  two  yards  in  width  costs  one  dollar 
and  a  half  a  yard. 

Satin  known  %s> furniture  satin  is  of  great  width,  and 
costs  from  six  dollars  and  a  half  a  yard  upward. 

Sateen ,  fifty  inches  wide,  is  three  dollars  and  a  half  a 
yard. 

Turkish  satin,  the  same  width,  six  dollars  a  yard. 

Satin  brocatelle,  sixty-three  inches  wide,  costs  ten  dol¬ 
lars  a  yard  and  upward. 

Flush  is  the  most  expensive  material  used  in  decora¬ 
tive  embroidery ;  the  cheapest  single-width  is  four  dol¬ 
lars  and  a  half  a  yard.  Woolen  plush  is  half  a  dollar 
cheaper. 

Bolton  sheeting  is  imported  from  England,  and  may 
be  had  for  one  dollar  a  yard. 

Turcoman  cloth  costs  six  dollars  a  yard — wide  width. 

Stamped  velveteen  is  to  be  had  from  one  dollar  and 
twenty-five  cents  a  yard  upward. 

Plain  velveteen  is  to  be  had  from  one  dollar  a  yard 
upward. 

Canton  flannel,  which  is  very  much  used,  and  should 
be  asked  for  as  “  fashion  drapery,”  can  be  bought  in 
every  variety  of  shade  for  ninety  cents  a  yard.  It  is 
double  width,  and  alike  upon  both  sides. 

Linens  can,  of  course,  be  purchased  at  varying  prices, 
dependent  upon  quality. 


IV. 


STITCHES  AND  METHODS. 

A  good  authority  has  laid  it  down  as  a  principle  that 
“  the  simpler  and  fewer  the  stitches  in  embroidery  the 
better.”  This  is  encouraging,  and  at  the  same  time  true, 
as  the  difference  in  stitches  is  in  reality  only  the  modifica¬ 
tion  of  a  certain  number,  and  their  use  in  different  com¬ 
binations  at  different  times. 

-  Stem-stitch  (called  by  Miss  Glaisher,  in  her  work  on 
“  Art  Embroidery,”  Tent-stitch)  is  the  first  and  most  sim¬ 
ple  stitch  taught  to  a  beginner.  It  consists  in  a  single 
long  stitch  taken  forward,  and  a  shorter  one  backward, 
followed  by  another  forward  stitch  a  little  in  advance  of 
the  first ;  in  outline  work  care  must  be  taken  to  keep  the 
thread  well  to  the  left  of  the  needle,  and  to  bring  it 
through  each  time  exactly  in  the  line  of  the  pattern  ; 
otherwise  the  result  will  be  an  uneven,  wavy  outline. 
The  quickest  way  is  to  work  upward  from  the  worker. 
The  stitches  should  all  be  equal,  neither  too  loose  nor  too 
tight,  and  each  point  should  be  kept  clear  and  bright. 
(See  Fig.  5.)  In  working  “  filled-in  embroidery  ”  in  stem- 
stitch  the  outline  should  be  the  last  thing  attempted,  as 
by  this  method  a  more  natural  look  is  given  to  a  leaf  or 
flower.  The  stitches  are  intended  to  express  the  form  of 
the  leaf,  and  they  should  take  the  same  direction  as  in 
shading  with  pen  or  pencil. 


26 


HOME  DECORATION. 


In  the  example  given  (Fig.  6)  of  a  pansy,  the  stitches 
must  take  the  direction  of  the  outline,  from  the  center , 


while  in  a  simple  leaf  they  should  be  at  an  angle  from 
the  middle  rib,  as  in  nature  (Fig.  7).  This  treatment 


Fig.  6. 


Fig.  7. 


STITGEES  AND  METHODS.  27 

should  be  followed  whenever  possible,  as  it  gives  a  life¬ 
like  appearance  to  the  representation. 

No  exact  rule  can  be  laid  down  for  the  length  of  this 
stitch ;  it  must  depend  upon  the  size  of  the  object  repre¬ 
sented,  the  material,  the  fineness  or  coarseness  of  the 
work,  etc.  (For  ordinary  crewel-work  perhaps  a  stem- 
stitch  might  be  from  three  eighths  to  half  an  inch  long. 
In  silk-work  it  should  be  shorter.) 

Cross-stitch  is  no  longer  used  in  modern  work ;  it  has 
gone  out  of  favor  with  the  old-fashioned  samplers  that 


exhausted  the  patience  and  occupied  the  time  of  a  former 
generation. 

Split-stitch  is  worked  in  a  similar  way  to  stem-stitch, 
only  in  bringing  the  needle  up  through  the  material  it  is 
passed  through  the  crewel  or  silk.  This  stitch  is  more 
suitable  for  frame-  than  for  hand-work. 

Satin-stitch  (Fig.  8)  is  greatly  used  in  white  embroid¬ 
ery,  and  consists  in  taking  the  needle  back  each  time 
to  almost  the  spot  whence  it  started,  so  that  the  same 


28 


HOME  DECORATION. 


result  is  reached  upon  both  sides.  It  produces  a  perfectly 
smooth  surface  when  properly  and  neatly  worked,  and  is 
very  useful  for  petals  and  raised  designs  in  small  masses. 

Blanket- stitcli  (Fig.  9)  is  used  for  edging.  It  is  ex¬ 
actly  like  ordinary  button-hole  stitch,  and  varies  only  by 
being  sloped  in  any  required  direction,  or  by  working 
two  or  three  stitches  and  then  leaving  a  space. 


Fig.  9.— Blanket-Stitch. 


Chain-stitch  is  used  occasionally  in  filled-in  embroid¬ 
ery,  but  it  has  a  mechanical  effect,  and  has  been  so  ex¬ 
actly  copied  by  machine-work  that  it  is  no  longer  sug¬ 
gestive  in  needle-work.  It  consists  simply  in  taking  a 
stitch  from  left  to  right,  and,  before  drawing  out  the 
needle,  bringing  the  thread  round  to  the  worker  under  the 


STITCHES  AND  METHODS. 


29 


point  of  the  needle.  Where  the  outline  is  required  to  be 
very  marked,  chain-stitch  may  be  used  to  replace  stem- 
stitch.  (Fig.  10.) 

Hope-stitch  is  a  sort  of  twisted  chain-stitch,  and  is  very 
effective  for  coarse  work.  It  is  managed  by  taking  the 
second  stitch  from  the  center  of  the  loop,  and  passing  it 
to  half  the  distance  behind  it,  and  then  pushing  the  loop 
on  one  side  to  allow  the  needle  to  enter  in  a  straight  line 
with  the  first  stitch.  (Fig.  11.) 

Feather-stitch ,  sometimes  called  long-stitch ,  or  simply 


embroidery-stitch ,  has  lately  been  rechristened  as  opus 
plumarium ,  from  its  resemblance  to  birds’  plumage.  It 
is  a  very  easy,  light  stitch,  either  as  worked  in  the  hand 
or  in  a  frame.  The  stitches  in  both  instances  are  the 
same ;  the  method  consists  in  working  the  stitches  of 
varying  length  into  and  between  each  other,  adapting 
them  to  the  design ;  in  frame- wrnrk  passing  the  needle 
backward  and  forward,  while  in  the  band  it  is  kept  up¬ 
on  the  surface.  This  is  a  very  useful  stitch  for  embroid¬ 
ering  flowers,  whether  natural  or  conventional.  (Fig. 


30 


HOME  DECORATION. 


12.)  In  working  the  petal  of  a  flower  the  outer  part  is 
first  worked  with  closer  stitches,  to  form  an  even  edge, 


while  toward  the  center  broken  or  uneven  stitches  are 
best;  then  follow  more  irregular  stitches,  which,  start- 


JFig.  12. — Feather-Stitch. 


STITCHES  AND  METHODS. 


31 


ing  from  the  center,  are  carried  in  among  those  already 
worked.  When  completed,  the  stitches  should  have  been 
so  worked  in  and  among  each  other  as  to  blend  in  an  har¬ 
monious  whole,  separate  stitches  being  indistinguishable  ; 
and,  when  shaded  silks  are  nsed,  the  gradations  ought  to 
be  scarcely  perceptible.  In  leaves  with  uneven  edges 
these  stitches  are  admirable  for  following  the  broken  out¬ 
line,  and  giving  the  true  appearance  of  a  serrated  leaf. 

The  proper  way  to  start  in  all  such  work  is  by  running 
the  thread  a  little  in  front  of  the  embroidery,  never  in 
any  case  by  knotting  the  thread.  Knots  are  wholly  in¬ 
admissible,  as  are  also  untidy  ends ;  the  back  should  be 
as  neat  as  the  surface. 

All  other  stitches  used  in  embroideries  are  merely 
modifications  of  those  already  named,  and  to  enumerate 
them  would  only  confuse  a  worker.  But  we  will  men¬ 
tion  a  useful  device  for  the  raised  centers  of  flowers,  as, 
for  instance,  the  daisy  or  sunflower,  or  the  stamens  of 
others.  It  is  called  a  French  knot  (Fig.  13),  and  is  made 
by  bringing  the  thread  through  to  the  front. of  the  work 
and  holding  it  in  the  left  hand  four  or  five  inches  from 
the  work,  the  needle  being  in  the  right  hand ;  the  thread 
in  the  left  hand  is  twisted  two  or  three  times  round  the 
needle  as  close  to  the  work  as  possible ;  then  the  point  is 
turned  down  into  the  material  nearly,  but  not  exactly, 
where  the  thread  came  up ;  the  needle  is  then  pulled 
through  to  the  other  side,  and  the  thread  carefully  drawn 
till  the  knot  is  firm.  The  knot  will  hang  loose  and  have 
a  bad  effect  unless  the  thread  is  drawn  round  the  needle 
close  up  to  the  work  before  the  needle  is  pulled  quite 
through. 

Holbein-stitch  is  a  name  given  to  stitches  used  in  elab¬ 
orating  designs  copied  from  the  works  of  Hans  Holbein, 


32 


HOME  DECORATION. 


and  in  reality  it  owes  its  name  to  tlie  painter  whose  pat¬ 
terns  are  taken  rather  than  to  any  peculiarity  in  the  stitch 
itself.  German  needle-women  bring  this  class  of  work 
to  very  great  perfection,  using  it  for  the  borderings  of 


towels,  and  sometimes  of  table-cloths,  which  are  finished 
off  with  elaborate  fringes  of  the  material  raveled  out,  the 
strands  being  then  plaited  and  knotted  in  various  pat¬ 
terns.  It  is  worked  in  colored  silks  if  upon  linens,  while, 
if  upon  canvas,  embroidery  cotton  is  used,  generally  red 
or  blue. 

Stitches  for  Frame  Embroidery .  Couching  or  Laid 
Embroidery . — In  this  work  the  threads  are  first  laid 
evenly  and  straight  from  side  to  side  of  the  space  to  be 
covered,  the  needle  being  passed  through  to  the  back 


STITCHES  AND  METHODS. 


33 


and  brought  up  again,  not  quite  close,  but  at  a  sufficient 
distance  to  allow  of  an  intermediate  stitch  being  taken 
backward,  so  that  the  threads  are  laid,  alternately,  first, 
third,  second,  fourth,  and  so  on,  which  has  a  better  effect 
than  if  they  were  laid  on  consecutively.  If  the  lines 
slant  much  it  is  not  necessary  to  alternate  the  rows. 
When  a  layer  is  complete,  threads  of  different  color  or 
material  are  laid  across  at  regular  intervals  and  fixed 
down  by  stitches  at  the  back.  (Fig.  14.)  The  chief 
beauty  of  such  work  lies  in  its  regularity.  This  stitch  is 
admirable  when  broad  effects  are  needed  without  shad¬ 
ing,  and  it  is  extremely  useful  in  restoring  old  embroid¬ 
ery  by  grounding  it  anew  instead  of  transferring  it. 
This  is  best  effected  by  stretching  the  old  embroidery 


Fig.  14. — Plain  Couching. 


upon  a  new  backing,  carefully  cutting  away  the  frayed 
material  and  couching  the  new  ground.  Various  dia¬ 
pered  patterns  can  be  made  by  this  stitch  by  simply  al¬ 
ternating  the  crossings.  Sometimes  the  threads  are  laid 


3i 


HOME  DECORATION. 


on  in  twos  or  threes,  and  stitched  across  at  regular  inter¬ 
vals  (Fig.  15),  giving  an  effect  known  as  brick-worh. 


Fig.  15. — Three  Illustrations  of  Diaper-Couchings— Couching  known  as  “Erick-work.” 


Cushion-stitch  is  simply  stem-stitch ,  and  'oy  a  second 
stitch  is  converted  into  cross-stitch,  as  in  hand  embroidery. 

Cushion-stitch  is  a 
name  also  applied  to  the 
many  stitches  used  in 
grounding,  either  by  tak¬ 
ing  up  single  threads  at 
long,  even  intervals,  or 
(as  in  Fig.  16)  in  waved 
lines  or  zig-zags. 

Stem-stitch  and  split- 
stitch  are  also  used  in 
frame-work. 

Japanese -stitch  (Fig. 
17)  is  worked  in  the  same  way  as  stem-stitch,  but  is  a 
modification  of  it,  and  consists  in  various  very  long 


STITCHES  AND  METHODS. 


35 


stretches,  which  have  the  effect  of  parallel  lines ;  it  is 
useful  in  representing  water  or  ground. 

Among  the  stitches  no  longer  in  common  use  are  tam- 


Fio  17. 


hour- stitch,  and  what  is  known  as  opus  anglicum,  although 
the  latter  is  still  used  in  ecclesiastical  needle- work. 

Applique,  or  cut-work,  must  be  divided  into  work 
mlaid  and  onlaid. 

Inlaid  applique  consists  in  tracing  the  same  pattern 
on  two  materials,  then  cutting  both  out  carefully  and  in¬ 
laying  the  one  into  the  other.  This  class  of  work  is  com¬ 
mon  in  old  Italian  embroideries  and  in  tapestries.  The 
mlaying  is  managed  by  sewing  the  inlaid  part  down  with 
thread,  covered  with  cords  or  couchings  of  floss  silk. 
Sometimes  narrow  ribbons  or  braid  is  stitched  over  the 
edges  to  keep  them  flat. 

Onlaid  applique  consists  in  cutting  out  the  pattern 
in  several  stuffs  and  laying  it  down  upon  an  even  ground 
of  another  material ;  care  must  be  taken  to  cut  the  ap¬ 
plied  work  even  ;  the  back  of  each  piece  may  be  touched 
with  gum  (very  thick  and  dry,  lest  it  should  penetrate 
the  material),  in  order  to  keep  it  in  its  place  upon  the 
material,  which  should  first  be  worked  out.  Then  the 
applied  piece  should  be  very  carefully  adjusted,  the  edges 
fastened  down  by  laying  a  cord  of  silk,  or  silver,  or  gold 
twist  on  the  edge,  and  sewing  it  down  with  fine  stitches. 
Sometimes  the  edges  are  sewn  down  with  button-hole 
stitch,  in  a  lighter  or  darker  shade.  In  a  leaf-pattern 
4 


36 


IIO ME  DECORATION. 


the  vein  may  he  indicated  by  silk  of  a  darker  shade. 
(Fig.  18.)  ^  _ 

Transferring  Designs. — This  process  varies  accord¬ 
ing  to  the  nature  and  color  of  the  material  to  be  used.  If 
the  ground  is  light,  a  good  way  is  to  trace  the  design 
carefully  upon  tissue-paper  and  fix  the  pattern  flat  upon 
the  material ;  then,  placing  between  them  a  sheet  of  car¬ 


bonized  paper,  go  over  the  pattern  with  a  sharp  metallic 
pencil,  and  the  design  will  be  accurately  traced  upon  the 
ground.  But,  occasionally,  by  this  method,  the  color  of 
the  carbonized  paper  remains  behind  and  soils  the  ma¬ 
terial,  especially  if  it  is  freshly  carbonized  ;  a  piece  that 
has  seen  service  is  therefore  precious.  To  transfer  on  to 
dark  grounds  another  method  must  be  resorted  to. 


STITCHES  AND  METHODS. 


37 


Pouncing. — By  this  process  the  design  must  be  drawn 
upon  thick  paper,  and  the  outlines  pricked  through  with 
a  pin.  When  once  the  pattern  is  pricked  out,  it  is  fixed 
face  downward  upon  the  material,  and  rubbed  over  with 
starch  or  fine  powder,  sewn  up  in  a  thin  muslin  hag,  or, 
better  still,  with  pulverized  pipe-clay,  rubbed  on  with  a 
firmly-rolled  piece  of  flannel  or  wad.  Then  carefully  re¬ 
moving  the  pattern,  a  pen  dipped  in  India-ink,  or  a  brush 
in  a  solution  made  of  pipe-clay  and  gum,  will  effectually 
trace  out  the  pattern. 

Although  we  mention  these  methods  for  the  use  of 
those  who  desire  to  transfer  patterns,  either  for  applique- 
work  or  embroidery  of  any  kind,  we  at  the  same  time 
recommend  all  who  can  do  so  to  have  the  design  traced 
for  them  either  by  the  designer  or  by  a  professional 
stamper.  The  greatest  care  is  necessary  in  the  process, 
and  it  is  terribly  annoying  to  find  a  delicate  material 
soiled  or  spoiled  in  tbe  very  commencement.  Stamping 
patterns  for  embroidery  is  quite  an  art,  and  well  worth 
the  small  sum  demanded. 

Drawn  Work. — Before  leaving  the  subject  of  em¬ 
broidery  we  must  speak  of  the  revival  of  a  very  ancient 
art  in  the  drawn  work  which  is  becoming  daily  more 
fashionable.  Although  it  is  terribly  trying  to  the  eyes, 
it  is  yet  so  fascinating  that  the  most  elaborate  designs 
are  now  carried  on  by  its  means.  This  method  of  decora¬ 
tion  consists  in  drawing  out  the  threads  of  fine  linen,  and 
filling  in  patterns  with  every  variety  and  combination 
of  stitch.  Hemstitch  is  the  first  and  easiest  form  of  it, 
but  from  this  simple  drawing  out  of  one  thread  and 
stitching  at  regular  intervals,  the  art  has  progressed  to  the 
arrangement  of  most  elaborate  patterns,  fringes,  and  in¬ 
sertions.  Few  dffections  for  such  work  can  be  given,  the 


38 


HOME  DECORATION. 


most  elaborate  being,  after  all,  merely  a  matter  of  industry 
and  arrangement.  So  many  more  threads  pulled  out,  so 
many,  or  so  few,  passed  over  or  caught  together,  and 
varied  by  the  introduction  of  herring-bone,  button-hole,  or 
chain-stitches,  or  by  overcasting,  or  darning-stitch.  This 
latter  at  once  brings  us  to  the  darned  net-work,  which  was 
the  foundation  of  later  lace,  and  has  been  revived  again. 
In  England,  curtains  of  hand  netting,  elaborately  darned 
in  patterns,  are  much  used,  and  coverings  of  the  same 
work  over  colored  silks  or  satins  are  very  effective. 

Italian  and  Spanish  Drawn  Work  is  beautiful,  and 
some  of  the  ancient  specimens  are  as  elaborate  and  fine 
as  the  finest  lace. 

Point  Coupe  includes  different  styles  of  hand-made 
lace.  An  English  authority  defines  it  as  “stuff  gummed 
to  a  net-work  of  threads,  the  pattern  formed  by  outlining 
with  button-hole  stitch  the  parts  that  were  to  remain,  and 
cutting  the  rest  away  ”  ;  and  as  “  threads  alone  arranged 
in  a  frame  and  radiating  from  a  common  center,  worked 
in  various  patterns.” 

Reference  is  constantly  made  to  it  in  history.  It  was 
universally  used  in  the  middle  ages  for  the  decoration  of 
dress,  but  is  now  chiefly  devoted  to  the  trimming  of  other 
work.  Silk  and  satin  linings,  and  the  introduction  of 
silk  in  the  working,  or  silk  laid  over  net,  and  treated  as 
above,  all  furnish  varieties  of  the  same  style. 

Lace  Work. — This  subject  is  too  wide  a  one  for  a 
small  manual.  We  must  be  content  to  mention  that  from 
the  coarsest  Macrame  lace  to  the  most  delicate  point  and 
pillow  lace,  every  possible  variety  can  be  accomplished  by 
industrious  and  skillful  fingers. 

Frames  and  Framing. — The  old-fashioned  frame 
with  bars,  upon  which  webbing  was  firmly  nailed,  to  re- 


STITCHES  AND  METHODS. 


39 


ceive  the  material  to  be  worked,  which  was  sewn  tightly 
upon  it,  has  been  superseded  by  one  recently  patented, 
in  which  the  webbing  is  rendered  unnecessary,  and  the 
work  is  stretched  by  means  of  rollers.  Mr.  F.  Sharpe, 
of  bio.  317  East  Forty-first  Street,  New  York,  has  re¬ 
cently  effected  still  greater  improvements  in  embroidery 
frames,  and  has  succeeded  in  perfecting  an  arrangement 
by  means  of  which  the  work  is  evenly  stretched,  and  so 
firmly  secured  that  the  material  does  not  give  in  the  least 
degree,  even  under  the  strain  of  very  heavy  work. 

The  lest  Embroidery  Needles  for  ordinary  crewel 
hand- work  are  Nos.  5  and  6  ;  for  coarse  materials,  such 
as  sail-cloth  or  oatcake  cloth,  No.  4;  for  frame  embroid¬ 
ery  or  very  fine  hand- work,  the  higher  numbers.  It  is  a 
mistake  to  use  too  fine  a  needle  ;  the  rule  to  be  observed 
is,  that  the  silk  or  crewel  should  pass  easily  through  the 
eye,  otherwise  it  is  liable  to  become  frayed  in  working. 

Scissors  should  be  finely  pointed,  and  very  sharp. 

Thimbles  which  have  been  worn  smooth  are  the 
best.  Some  workers  prefer  ivory  or  vulcanite.  Two 
thimbles  should  be  used  for  frame-work. 

Prickers  are  necessary  for  piercing  holes  in  gold  em¬ 
broidery,  and  also  for  arranging  the  lie  of  the  thread  in 
some  forms  of  couching. 

Linen  of  every  description,  except  that  known  as  oat¬ 
cake  or  sail-cloth,  can  be  worked  without  a  frame. 

Gold  Embroidery  on  velvet  or  satin  grounds  requires 
to  be  worked  on  strong,  even  linen,  and  then  cut  out  and 
applied  in  the  same  manner  as  ordinary  applique.  When 
a  particularly  rich  and  raised  effect  is  desired,  any  em¬ 
broidery  may  be  treated  in  this  manner ;  it  is  more 
troublesome,  but  it  amply  repays  the  labor  by  the  in¬ 
creased  beauty  of  the  work. 


40 


HOME  DECORATION. 


Old  Embroideries  are  often  transferred  to  new  ground 
by  this  method,  and  in  such  work  it  is  necessary  to  cut 
away  the  ground  close  to  the  embroidery  ;  then  place  it 
on  the  new  material,  which  has  been  previously  framed, 
and  the  outline  tacked  down.  The  best  way  of  finishing 
is  then  to  work  in  the  edges  with  silks  dyed  exactly  to 
match  the  colors  in  the  old  work.  If  this  is  properly 
done,  it  is  impossible  to  discover  which  are  old  and  which 
new  stitches,  and  it  is  only  by  examining  the  back  that 
it  can  be  seen  that  the  work  has  been  transferred  at  all. 
Embroidery  so  transferred  is  as  good  as  it  was  in  its  first 
days — in  many  cases  much  better,  for  time  has  often  the 
same  mellowing  effects  upon  embroideries  as  ivpon  paint¬ 
ings. 

A  less  expensive,  but  also  much  less  charming  method, 
is  to  edge  the  old  embroidery,  after  applying  it  to  the  new 
ground,  with  a  cord  or  line  of  couching,  but  it  is  always 
easy  in  such  work  to  see  that  it  has  been  transferred. 

For  Applique  of  all  kinds  it  is  necessary  to  back  the 
material,  which  is  best  done  in  this  way :  A  piece  of  thin 
cotton  or  linen  fabric  is  tightly  stretched  on  to  a  board 
with  tacks  or  drawing-pins.  It  is  then  covered  smoothly 
and  completely  with  paste.  The  wrong  side  of  the  vel¬ 
vet,  satin,  or  serge,  or  whatever  material  is  used,  is  then 
pressed  firmly  down  on  the  pasted  surface  with  the  hands 
and  left  to  dry. 

The  following  is  a  good  recipe  for  embroidery  paste : 
Three  and  a  half  spoonfuls  of  flour  and  as  much  powdered 
resin  as  will  lie  on  a  quarter-dollar ;  mix  these  well  and 
smoothly  with  half  a  pint  of  water,  and  pour  it  into  an 
iron  saucepan ;  put  in  a  teaspoonful  of  essence  of  cloves, 
and  go  on  stirring  till  it  boils  ;  then  turn  it  into  a  galli¬ 
pot  to  cool. 


STITCHES  AND  METHODS. 


41 


Good  crewels  will  always  wasli  or  clean  without  in¬ 
jury,  but  cheap  and  inferior  worsteds  will  not  do  so. 
Ordinary  crewel  or  linen  may  be  washed  at  home  by 
plunging  it  into  a  lather  made  by  water  in  which  bran 
has  been  boiled,  or  even  with  simple  soapsuds,  so  long  as 
no  soda  or  washing-powder  is  used.  It  should  be  care¬ 
fully  rinsed,  without  wringing,  and  hung  up  to  dry. 
When  almost  dry,  it  may  be  stretched  out  with  drawing- 
pins  on  a  board,  and  will  not  require  ironing. 

Embroidery  on  cloth  or  serge  may  often  be  cleaned 
with  benzoline,  applied  with  a  piece  of  clean  flannel ;  but 
if  a  piece  of  work  is  much  soiled,  or  in  the  case  of  fine 
doyleys,  it  is  safer  to  trust  to  a  cleaner. 


y. 

WINDOW-HANGINGS  AND  PORTIERES. 

Cuktains,  for  whatever  purpose  intended,  afford  am¬ 
ple  scope  for  decoration.  The  hangings  of  a  room  help 
to  furnish  it  more  than  anything  else,  and  whether  we 
consider  them  as  necessaries,  as  in  the  case  of  window- 
curtains,  or  as  additions  and,  in  some  sort,  luxuries,  as  in 
the  case  of  portieres ,  a  great  deal  of  shill  is  possible  „  in 
their  treatment. 

In  many  houses  a  very  pleasant  effect  is  produced  by 
the  introduction  of  drapery  in  the  hall.  The  entrance 
to  a  house  strikes  every  one,  and,  in  the  majority  of 
modern  homes,  the  first  view  is  usually  of  a  stairway  by 
no  means  too  ornamental.  In  old-fashioned  or  in  large 
houses,  a  different  arrangement  is  met  with,  and  the 
stairs  seen  in  the  background  are  in  broken  flights,  with 
a  landing  opposite  the  doorway,  which,  furnished  with  a 
colored  glass  window,  and  made  still  more  presentable  by 
the  happy  introduction  of  flowers  in  a  stand,  or  perhaps 
a  hanging-basket,  at  once  attracts  attention.  Even  in 
such  a  case  the  pleasant  effect  is  heightened  by  drapery 
which  half  frames  the  window ;  but,  where  the  architect 
has  been  less  kind,  a  portiere  across  the  entry,  gracefully 
looped,  is  at  once  pleasant  and  suggestive. 

So  many  delightful  possibilities  are  concealed  by  a  cur¬ 
tain  ;  not  to  mention  the  skillful  hiding  of  defects  made 


WINDOW-HANGINGS  AND  PORTIERES. 


43 


feasible  with  such  means,  or  the  softening  of  angles  and 
happy  obliteration  of  corners.  Moreover,  in  the  use  of 
curtains,  every  variety  of  decoration  becomes  possible, 
and  so  much  taste  and  skill  can  be  shown  in  the  selec¬ 
tion  of  materials,  the  adaptation  of  patterns,  and  the 
choice  of  coloring,  that  it  is  not  surprising  that  draper¬ 
ies  of  every  kind  receive  increasing  attention. 

Window-curtains  show  off  decorative  needle-work 
most  admirably,  and  a  great  deal  of  the  general  effect  of 
a  room  is  due  to  their  skillful  treatment.  They  should 
be  chosen  of  materials  which  look  well  in  daylight,  and 
when  drawn  for  the  evening  will  show  up  equally  well 
by  gas  or  lamplight.  If  heavy  stuffs  are  selected,  white 
under-curtains  are  indispensable ;  but  there  are  many 
materials  of  light  tone  and  make,  which,  edged  with  lace, 
serve  a  double  purpose.  Curtains  should  never  be  too 
full,  and  they  are  more  artistic  when  they  are  only  just 
long  enough  to  lie  a  few  inches  upon  the  floor. 

Half  the  effect  of  handsome  needle- work  is  lost  if  the 
width  of  the  hanging  necessitates  many  folds ;  it  should 
be  sufficiently  wide  to  hang  easily  when  drawn  across 
the  window,  and  no  wider.  The  design,  once  selected, 
should  always  be  worked  upon  the  material  itself,  unless 
in  ther  case  of  borderings,  which  may  be  laid  on  to  sug¬ 
gest  inclosing  lines.  Although  a  pair  of  curtains  repre¬ 
sents  a  cumbersome  piece  of  work,  the  stitches  in  such 
embroidery  are  so  large  that  the  ground  is  easily  covered, 
and  the  effect  is  altogether  far  handsomer  than  when  the 
design  is  worked  upon  strips  and  laid  on. 

It  is  essential  that  curtains  should  harmonize  with 
the  decoration  of  the  room ;  and  it  may  be  mentioned 
incidentally,  that  a  great  deal  of  effect  will  depend  upon 
the  choice  of  the  carpet,  which  in  most  cases  precedes 


44 


HOME  DECORATION. 


that  of  the  hangings.  As  a  matter  of  fact,  a  carpet 
has  no  right  to  rule  the  coloring  of  the  room ;  it  should 
be  entirely  subordinate — an  accessory,  as  it  were — that 
which  the  background  is  to  a  picture,  or  the  green¬ 
sward  to  the  forest ;  but  as  this  is  very  often  not  the 
case,  and  the  carpet  may  be  already  in  place,  in  strong 
self-assertion,  it  must  be  considered,  and  the  draperies 
brought  into  harmony  with  it.  Where  the  coloring  of 
a  room  is  neutral,  bright  window-hangings  are  a  possibil¬ 
ity,  but,  generally  speaking,  the  more  sober  hues  are 
better  chosen  for  the  material,  and  such  bright  coloring 
as  is  thought  desirable  introduced  into  the  working  of 
the  design.  Soft  fabrics  hang  best.  Hep  is  too  stiff  for 
graceful  effects ;  serge  or  diagonal  cloth  is  pleasant,  both 
for  its  softness  in  work  and  on  account  of  the  graceful 
folds  into  which  it  naturally  falls. 

Yelveteen  is  also  suitable  for  hangings,  being  durable 
and  very  accessible  to  ornament ;  worked  in  filoselle,  cur¬ 
tains  of  this  material  are  extremely  handsome  ;  velvet  is 
rather  less  manageable,  and  does  not  answer  so  well  for 
applied  work,  the  pile,  when  it  is  rich,  interfering  with 
the  set  of  the  stitches. 

For  heavy  draperies,  a  border  design  is  best,  or  one 
with  intervals,  such  as  stars  or  crescents,  which  may  be 
worked  in  silks  or  bullion  ;  while  for  lighter  material 
a  continuous  pattern,  carried  over  the  whole  of  the  cur¬ 
tain,  looks  very  well.  Crewels,  lightened  by  the  in¬ 
troduction  of  filoselle,  are  best  for  such  designs.  Branch¬ 
ing  patterns,  too,  are  well  adapted  for  curtains,  and  will 
suit  almost  all  materials,  while,  where  dadoes  are  intro¬ 
duced,  a  border  of  different  material  is  admissible,  the 
depth  of  which  must  bear  relation  to  that  of  the  wall¬ 
paper,  supposing  it  to  be  in  the  same  style.  A  dado 


WINDO  W-EANGINGS  AND  PORTIERES. 


45 


may  be  embroidered  before  it  is  sewn  on  to  the  cur¬ 
tain,  and  when  it  has  a  conventional  design  of  upright¬ 
stemmed  flowers,  the  remainder  of  the  hanging  might 
he  appropriately  worked  in  single  flowers  of  the  same 
kind,  similar  in  color.  Curtains  in  two  shades  are  often 
very  appropriate  for  smaller  rooms,  where  dadoes  are 
a  little  out  of  place ;  a  darker  and  lighter  brown,  for  ex¬ 
ample,  or  two  shades  of  gray  relieved  by  crimson  bias 
introduced  where  they  are  joined,  would  be  both  pretty 
and  effective. 

Summer  curtains  of  unbleached  linens,  worked  in 
crewel,  admit  of  an  almost  endless  variety,  while  there 
is  no  limit  to  the  choice  of  materials  suited  to  more  elabo¬ 
rate  and  expensive  drapery.  Satins  of  creamy  tint  are 
especially  manufactured  for  such  purposes,  and  silks 
known  as  “  unfinished  ”  are  of  the  neutral  colors  which 
best  bear  elaborate  designs,  while  very  inexpensive  cur¬ 
tains  can  be  made  of  cotton  sheeting,  worked  in  ordinary 
worsteds  or  crewels. 

Portieres  serve  a  double  purpose,  and  are  invaluable 
either  to  hide  or  to  replace  a  door,  or  as  a  separation  be¬ 
tween  double  rooms  ;  well  managed,  they  are  exceedingly 
effective.  They  should  not  repeat  the  window-curtains, 
but  should  harmonize  with  them  in  coloring  and  style. 
Portieres ,  whether  single  or  double,  should  be  sewn  upon 
rings  and  suspended  upon  a  pole,  so  that  they  can  be 
drawn  back  at  will ;  they  should  not  be  looped,  but  should 
fall  in  easy  folds.  Where  they  are  intended  to  separate 
rooms  of  different  character,  they  can  be  made  double — 
of  one  color  and  material  on  the  one  side,  and  of  some¬ 
thing  suitable  to  the  coloring  of  the  other  room  upon  the 
reverse. 

It  is  a  very  usual  thing  to  make  portieres  of  two  or 


46 


HOME  DECORATION. 


Fig.  19. 


WINDOW-HANGINGS  AND  DOR  TID’D  ES.  47 


three  different  materials  ;  for  example,  in  panels  or  with  a 
border,  more  or  less  deep,  of  one  material,  and  the  re¬ 
mainder  of  something  different.  For  example  (in  Fig. 
19),  we  have  a  very  simple  design,  which  becomes  most 
effective  when  worked  upon  different  materials — the  up¬ 
per  part,  for  instance,  in  satin,  the  lower  in  plush,  with 
satin  bands.  The  suggestions  of  the  artist  for  the  treat¬ 
ment  of  this  portiere  are,  that  the  upper  panel  should  he 
of  whitish  yellow  satin,  the  flowers,  which  are  peach- 
blossoms,  worked  in  pink  and  crimson,  the  lower  part  of 
the  branch  in  bluish  gray,  with  brown  touches,  and  the 
smaller  stems  yellow,  with  reddish  shadows.  A  delicate 
green  should  be  chosen  for  the  young  leaves.  The  lower 
panel  should  be  of  salmon-pink  plush  and  the  vase  of 
light  blue,  the  markings  in  gold  thread,  while  the  waving 
tracery  of  the  plush  panels  should  be  in  black,  and  a  warm 
brown  plush  border  complete  the  hanging  at  the  bottom. 
Just  above  the  salmon  plush  a  blue  bordering  with  con¬ 
ventional  flowers  in  pink  with  deep  red  centers,  with 
bands  above  and  below  of  yellow  satin,  will  throw  up  the 
design  with  admirable  contrasts. 

The  same  design  could  be  carried  out  upon  simpler 
material,  attention  being  given  to  the  coloring  suggested 
for  the  details  ;  it  would  look  well  in  almost  any  soft  ma¬ 
terial  with  neutral  ground,  the  colors  employed  in  the 
rendering  being  bright  and  harmonious. 

An  effective  design  (Fig.  20)  is  also  intended  for  the 
use  of  satin  and  plush,  and  the  suggestions  for  its  working 
are  that  the  most  satisfactory  result  would  be  produced 
by  “  on-laying.”  Three  different  plushes  are  recom¬ 
mended.  For  the  upper  panel,  a  mixed  shade  of  brown 
and  red ;  the  side  bands  to  be  of  sage-green,  and  a  warm 
greenish  brown  to  be  chosen  for  the  bottom.  The  treat- 


48 


HOME  DECORATION. 


Fw.  20. 


WIND  0  W-HANGINGS  AND  FORTIN  RES.  49 

ment  suggested  for  tlie  center  would  be  difficult  but  most 

00 

effective,  and  would  amply  repay  the  time  and  care  be¬ 
stowed  upon  it.  Delicate  whitish-yellow  satin  could  bo 
taken  as  a  ground  above  the  water-line,  with  blue  satin  for 
the  water  itself,  the  ripples  being  suggested  by  darker 
lines  of  blue  in  silk  or  worsted  upon  the  surface,  while  the 
mass  of  deeper  color  in  the  corner  could  be  managed  by 
the  introduction  of  a  darker  material  of  the  depth  of  color 
desired,  and  by  so  cutting  it  and  inlaying  it  by  applique, 
that  the  ends  of  some  of  the  rush-leaves  would  be  shown 
over  it  as  if  on  the  border,  while  the  effect  of  distance 
could  be  produced  by  cutting  out,  in  lighter  material,  the 
reeds  that  occupy  the  foreground.  In  treating  the  water, 
the  same  idea  of  perspective  can  be  given  by  making  the 
ripples  toward  the  bottom  of  the  panel  close  together, 
and  widening  the  distances  by  degrees,  until,  about  half 
way  up  to  the  water-line,  they  should  cease  altogether. 

This  design  might  be  very  well  treated  if  the  center 
panel  were  painted  upon  satin,  or  worked  in  simple  out¬ 
line  stitch  in  well-assorted  silks. 

Such  materials  would  necessarily  make  a  portiere  in 
this  style  a  serious  expense,  and  therefore  another  design 
(Fig.  21)  is  given  to  show  what  may  be  accomplished  by 
the  use  of  moderate  means.  It  represents  a  hanging  which 
can  be  completed  in  every  detail  for  a  sum  scarcely  ex¬ 
ceeding  four  dollars.  The  body  of  the  portiere  could  be 
of  any  mixed  material  (that  stamped  with  a  Persian  pat¬ 
tern  is  best),  which  can  be  bought,  fifty-one  inches  wide, 
for  one  dollar  and  a  half  a  yard,  while  a  yard  and  a  quar¬ 
ter  of  velveteen,  at  one  dollar  a  yard,  wall  be  sufficient 
for  the  bands  and  center  design.  Even  if  simply  put  on 
by  applique  work,  this  style  of  decoration  is  very  effect¬ 
ive,  but  designs  might  be  worked  upon  the  velvet,  if  de- 


HOME  DECO  RATION. 


50 


Fig.  21. 


WINDOW-HANGINGS  AND  PORTIERES.  51 


Fig.  22. 


52 


no  MS  DECORATION. 


sired,  to  suit  any  taste ;  or,  again,  stamped  velvet,  in  rich 
colors,  coxdd  be  used  upon  Canton  flannel,  or  plain  ma¬ 
terial  of  some  neutral  tint. 

A  design  of  sunflowers,  with  a  deep  plush  bordering, 
upon  which  conventionalized  flowers  of  the  same  kind 
are  laid,  is  very  effective  for  hangings.  The  upper  panel 
(in  Fig.  22)  might  be  of  light-blue  cloth,  the  flowers 
worked  in  crewels,  and  the  lower  panel  of  deep-blue 
plush,  the  flowers  upon  this  having  a  black  center,  and 
the  outer  circle  of  the  leaves  being  worked  in  bright 
yellow. 

Fig.  23  is  intended  for  an  applique  design,  and  repre¬ 
sents  conventionalized  calla-lilies.  In  this  hanging,  the 
suggestions  are  for  a  pale,  greenish-blue,  lusterless  mate¬ 
rial  for  the  body  of  the  curtain  ;  the  leaves  on  the  border 
and  upon  the  center  panel  to  be  of  pearl-colored  satin, 
put  on  by  applique  work,  while  the  flowers  should  be  of 
dead  white ,  without  luster,  as  should  also  the  plain 
bordering  and  ornament  at  the  bottom  of  the  center 
frame.  This  would  be  a  most  delicate  piece  of  decora¬ 
tion,  suitable  for  a  boudoir  or  morning-room. 

The  introduction  of  a  center  panel,  painted  upon 
satin,  is  novel  and  effective.  Such  a  design  (see  Fig.  24) 
might  be  treated  either  by  the  brush  or  by  the  needle.  A 
branch  of  maple,  with  its  brilliant  autumn-leaves,  is  rep¬ 
resented  upon  a  ground  of  pale-yellow  satin,  and  the  hill¬ 
side  is  suggested  by  a  few  light  touches,  which,  if  painted, 
are  easily  conveyed,  and,  if  treated  as  embroidery,  could 
be  outlined  by  the  introduction  of  plush  inlaid.  The 
borderings  of  this  portiere  should  be  of  rich  dark  brown, 
the  waving  design  being  traced  in  outline-stitch  or  crewel 
in  bright  gold  or  yellows,  or,  indeed,  in  any  bright  colors 
which  might  be  preferred.  The  autumnal  shades  would 


WINDOW-HANGINGS  AND  PORTIERES. 


53 


Fig.  23. 


probably  be  better  conveyed  by  the  brush  than  by  the 
needle. 

An  entirely  novel  idea,  both  as  to  design  and  treat¬ 
ment,  is  suggested  in  our  next  design  (Fig.  25).  The  up- 


54 


HOME  DECORATION. 


Fig.  2-i. 


WINDOW-IIANGINGS  AND  PORTIERES. 


55 


per  panel  is  intended  to  be  of  sea-green  plush,  as  dark  as 
can  be  obtained,  tlie  lower  to  be  very  deep  blue  of  the 
same  material.  The  upper  and  lower  bands  should  be 
of  sage-green,  the  center  panel  being  bordered  above  bv 
light-blue  satin,  and  below  by  sea-green  with  the  water- 
lines  worked  on.  The  meshes  of  the  net  should  be  of 
yellow  silk,  so  arranged  that  the  shadows  are  well  brought 
out.  This  could  be  effectively  done  in  couching  work, 
and  a  very  original  finish  might  be  given  if  the  floats 
were  represented  by  rounds  of  leather,  stitched  on. 

The  gull  should  be  in  grayish  white.  The  border 
design,  which  is  a  representation  of  sea-fern  convention¬ 
alized,  must  be  worked  in  outline-stitch  in  gold  silks. 

Very  often  a  portiere  which  would  be  rich  and  effec¬ 
tive  in  a  single  curtain  would  hardly  bear  duplication. 
Simple  designs  are  better  in  the  case  of  double  doors, 
or  for  a  doorway  so  large  as  to  require  a  pair  of  curtains. 
For  such  a  purpose,  plain  hangings  with  effective  border- 
ings,  or  with  plain  bands  or  panels  without  much  decora¬ 
tive  work,  are  the  best.  Such  curtains  might  be  made  of 
dull  gold-colored  cloth,  bordered  with  pale  pink;  or  a 
conventional  foliage  pattern,  designed  for  the  border  and 
worked  in  dark  browns,  would  look  well ;  so  too  would 
upright  flowers,  with  leaves  which  might  appear  to  rise 
from  the  dark  border ;  the  outlines  and  leaves  being  in 
deeper  colors  and  the  flowers  in  pink. 

Two  shades  of  colors,  again,  are  suitable  for  double  door¬ 
ways  ;  in  such  cases  the  darker  shade  should  be  the  lowest, 
the  lighter  one  looking  better  above,  either  with  or  with¬ 
out  decoration ;  or  a  frieze-like  border  in  cinque-cento  style, 
about  two  feet  from  the  top,  is  very  effective.  Simple 
and  inexpensive  portieres  can  be  readily  made  of  fashion 
drapery  with  bands  of  darker  material.  Being  the  same 


56 


HOME  DECORATION. 


Fig.  25. 


on  both  sides,  it  would  only  be  necessary  to  duplicate  the 
bands,  varying  them  to  suit  the  coloring  of  two  rooms. 


WINDOW-HANGINGS  AND  PORTIERES.  57 


Very  little  trimming  is  usually  needed  for  portieres  ; 
but  some  pei’sons  like  fringes,  or  heavy  laces,  which  can 
always  be  added  at  will. 

Book-case  curtains  are  desirable  additions  in  libra¬ 
ries  ;  for  these,  soft  materials  with  conventional  border- 
ings  or  severe  patterns  are  best.  A  plain  Grecian  design 
is  admirable  in  dark  colors. 

Fig.  26  represents  a  very  quaint  and  appropriate  de¬ 
sign  for  such  a  curtain,  which  might  be  used  either  as  a 
portiere  or  simply  as  a  hanging  before  the  book-case. 
So,  too,  it  can  either  be  made  a  most  inexpensive  decora¬ 
tion,  if  it  is  simply  of  thin  muslin  or  linen,  the  border¬ 
ing  being  of  darker  material,  and  the  pattern  worked 
in  ordinary  silks  or  crewels ;  or,  it  might  be  extremely 
handsome.  If  the  latter  effect  is  desired,  velvet  or  plush 
of  deep  chocolate-brown  or  maroon  might  be  selected ; 
the  center  design  being  worked  in  rich  blue  silks,  and 
the  bordering  of  crimson  velvet  or  plash,  embroidered  in 
gold.  The  value  of  this  and  other  designs  given  in  this 
manual  lies  precisely  in  the  large  margin  allowed  in  each 
for  individual  taste  and  judgment.  There  is  scarcely  one 
among  them  that  is  not  susceptible  of  treatment  in  sev¬ 
eral  different  ways,  and  they  will  amply  repay  the  neces¬ 
sary  effort  and  time  bestowed  upon  them,  whether  they 
are  made  of  the  plainest  or  richest  material,  whether 
their  money  value  is  great  or  small. 

The  Openings  and  Walls  of  a  Room. — Some  rooms 
seem  to  be  all  doors ;  in  whatever  direction  one  turns,  the 
eye  is  confronted  by  an  opening  ;  and  it  is  becoming  very 
usual  to  drape  the  entire  room  in  a  way  that  shall  make 
such  necessities,  as  far  as  possible,  parts  of  an  harmonious 
whole. 

Wall-hangings  assist  in  producing  this  effect,  and  a 


58 


ROME  DECORATION. 


Fig.  26. 


WINDOW-HANGINGS  AND  PORTIERES. 


59 


few  suggestions  may  serve  to  show  how,  by  the  use  of 
simple  means,  agreeable  results  may  be  obtained. 

The  best  material  for  such  hangings  is  Kentucky 
jean,  which  is  known  in  the  stores  as  “  dennin,”  and 
which  is  of  dull-blue  color.  Cloth  of  light  dull  red 
might  be  used  for  the  marginal  designs,  which  require  to 
be  stitched  on.  The  design  given  in  our  frontispiece  is 
simple  and  easy  ;  but  as  other  margins  could  equally  well 
be  used  with  it,  a  variety  of  such  patterns  is  given.  Of 
these,  the  first  (Fig.  27)  represents  morning-glories ;  it 
might  be  cut  in  cloth  and  appliqued  on  to  a  bordering  of 
any  color  selected,  the  leaves  being  veined  in  darker  silk 
or  crewel,  and  if  the  chalices  of  the  glories  were  in 
green,  the  effect  would  be  enhanced.  The  second  margin, 
of  conventionalized  buttercups  (Fig.  28),  might  be  ef¬ 
fectively  rendered  in  yellow  cloth  flowers  appliqued  upon 
a  dark  ground,  the  leaves  in  green  cloth,  veined  in  darker 
color.  The  corn  in  the  third  (Fig.  29)  and  the  rushes  in 
the  last  design  (Fig.  30)  would  serve  equally  well  for  ap¬ 
plique  work  in  cloths  of  the  natural  colors  upon  deep- 
toned  grounds. 

The  hangings  in  such  decoration  (excepting  those 
which  lie  fiat  against  the  wall)  should  be  lined,  in  order 
that  their  straight  hanging  may  be  insured.  Our  designs 
for  such  drapery  (Figs.  35  and  36)  represent  the  wall-hang¬ 
ing  as  the  length  of  the  mantel.  The  borderings  should 
always  be  stitched  on  before  the  hanging  is  fixed  upon 
the  wall.  That  being  done,  the  dado  is  ready,  and  should 
be  fastened  on  to  the  wall  with  long  bi'ass  nails,  which 
will  reach  through  the  laths,  both  at  the  top  and  bottom 
(see  Fig.  34).  To  carry  out  the  intentions  of  this  drap¬ 
ery,  the  first  requisite  for  the  mantel-piece  is  a  pine-board 
shelf,  which  will  project  about  an  inch  over  the  edge  and 


HOME  DECORATION. 


WIN  DO  W-HA  N  GIN  GS  AND  PORTIERES. 


61 


Fig.  82 


Fts.  83. 


0>  <3> 


Fig.  84. 


02 


HOME  DECORATION'. 


ends.  A  smaller  shelf  (as  in  Fig.  31)  is  easily  made;  it 
should  be  about  sixteen  inches  high  and  of  proportionate 
width.  A  bar  and  rings  will  be  required  for  the  hanging 
above  the  mantel,  and  strips  of  pine,  from  three  eighths 
of  an  inch  to  an  inch  and  a  half  in  width,  to  fasten  the 
dado  at  the  top ;  while  the  strips  at  the  bottom  should  be 
quarter  round.  All  the  wood  should  be  stained  either 
red  or  black.  For  the  windows  and  doors,  a  piece  of 
pine,  stained  (see  Fig.  32),  with  brackets  on  either  side  to 
support  it,  is  required,  and  a  bar  for  the  rings  of  th z  por¬ 
tiere  is  necessary  (as  in  Fig.  33). 

The  walls  between  the  dado  and  ceiling  might  be 
tinted  a  dull  warm  red  or  olive,  and  the  same  pattern  as 
that  on  the  dado  could  be  run  round  the  paneling  at  the 
top  of  the  wall.  The  window-drapery  should  be  managed 
exactly  like  that  of  the  doorway,  and  the  general  effect 
will  be  pleasing  and  unique.  Embroidered  hangings 
are  sometimes  selected  to  cover  the  entire  surface  of  the 
walls,  and  although  in  most  cases  paper-hangings  appear 
more  suitable,  especially  with  the  many  pictures  and 
ornaments  found  in  modern  homes,  attempts  have  been 
made  to  revive  the  old  tapestry  effects.  It  seems  a  pity 
to  bestow  so  much  valuable  work,  if  any  of  it  is  to  be 
hidden ;  but  where  it  is  very  elaborate,  it  can  be  made  the 
principal  decoration  of  the  room.  If  this  is  the  inten¬ 
tion,  a  needle-work  tapestry  which  has  been  introduced 
may  be  employed  ;  but  it  is  very  difficult  work,  and  could 
only  be  carried  out  successfully  under  competent  guid¬ 
ance.  The  designs  for  such  an  undertaking  should  be 
of  the  nature  of  picture-cartoons. 

A  more  simple  effect  is  recommended  by  IVIiss  Glai- 
sher,  and  is  managed  by  “  a  narrow,  frieze-like  hanging 
above  a  dado,  of  width  proportioned  to  it,  and  worked 


WINDOW-HANGINGS  AND  PORTIERES. 


63 


Fig.  35. 


64 


HOME  DECORATION. 


Fig.  36. 


WINDOW-HANGINGS  AND  PORTIERES.  65 

with  stiff,  upright  stems  of  flowers,  highly  convention¬ 
alized  ;  or,  at  even  distances,  pots  in  outline,  with  a  group 
of  flowers  of  one  sort  in  each  pot.”  “  A  running,  frieze¬ 
like  pattern  in  cinque-cento  style,  intermixed  with  birds 
or  curious  devices,”  is  also  suggested,  but  this  requires  a 
good  deal  of  care  in  both  design  and  treatment,  and,  in 
short,  it  is  a  little  difficult  to  make  wall-hangings  repay 
the  time  and  skill  which  must  be  expended  upon  them. 


VI. 


SCREENS. 

From  being  merely  unwieldy  contrivances  to  shelter 
from  draught  or  the  heat  of  the  lire,  screens  have  become 
among  the  greatest  ornaments  of  a  modern  home.  They 
are  to  be  met  with  in  every  variety,  from  the  priceless 
inlaid  structure,  with  its  plate-glass  panels,  between 
which  grow  rare  and  graceful  ferns  and  mosses,  to  the 
simply  covered  wooden  frame,  of  home  manufacture, 
which  has  been  beautified  at  no  expense.  Within  these 
limits  range  an  infinite  variety,  and  no  useful  object  in  a 
home  affords  more  scope  for  decoration  than  this.  Size 
varies  as  much  as  style,  but  the  most  serviceable  is  cer¬ 
tainly  the  three-folded  ordinary  parlor-screen. 

In  many  houses  in  European  countries,  screens  answer 
the  double  purpose  of  concealing  the  bed  and  making 
the  parlor  beautiful — so  often  does  one  apartment  serve 
two  purposes — and  hence  the  height  of  many  of  the 
screens  is  greater  than  is  considered  elegant  in  American 
homes.  The  famous  Louis  Quinze  screens  are  of  every 
conceivable  variety,  in  frameworks  of  ebony  filled  in 
with  rich  satin  or  velvet  brocades,  and  embroidered  in 
raised  silks,  plushes,  or  even  feathers.  Arms  emblazoned, 
initials  cunningly  intertwined,  portraits  even  introduced 
in  medallion,  exquisite  landscapes  painted  upon  china,  or 
still  more  elaborate  designs  in  needle-work  inclosed  in 


SCREENS. 


67 


glass,  are  all  suggestive  of  tlie  pageantry  of  a  luxurious 
age.  But  we  have  to  do  with  the  fashions  of  to-day,  and 
although  the  last  exhibition  of  decorative  needle-work 
showed  a  marked  tendency  to  bring  extraneous  materials 
into  the  service  (one  very  elegant  three-paneled  screen 
having  artificial  flowers  sewn  on,  and  others  introducing 
feathers),  artistic  judgment  was  against  the  innovation, 
and  the  preference  decidedly  given  to  those  whose  beauty 
was  due  to  fairy  needle-work  or  painting  alone. 

One  of  the  richest  screens  it  has  ever  been  our  fortune 
to  behold  is  in  private  possession  in  ISTew  York.  It 
is  of  white  watered  silk,  inclosed  in  ivory  frames,  and 
embroidered  in  many-colored  silks  with  a  waving  border¬ 
ing  of  flowers,  so  artistically  wrought  that  it  is  more  like 
a  parterre  of  living  beauty  than  a  mere  representation. 
This  elaborate  screen,  however,  is  Japanese,  and  our 
needle-workers  have  yet  much  to  learn  before  they  can 
hope  to  out-rival  the  skill  of  the  East. 

Chinese  screens,  again,  are  fairly  bewildering  to  the 
eye  in  the  variety  and  vividness  of  their  design  and  col¬ 
oring  ;  but  colors  that  seem  appropriate  to  the  magnifi¬ 
cence  of  Eastern  imagery  are  less  so  in  our  every-day 
lives,  and  we  would  recommend  to  those  who  propose  to 
work  a  screen  for  themselves,  a  selection  of  the  more 
subdued  tints  which  are  to  be  found  assorted  in  every 
decorative  store.  Cloth,  perhaps,  is  the  most  satisfac¬ 
tory  material  for  a  standing  screen,  while  for  the  banner 
screens,  which  so  improve  the  mantel-shelf,  or  those  which 
are  arranged  on  rings  to  draw  round  a  corner  or  shield  a 
couch  from  the  draught,  various  stuffs  are  equally  good. 

As  screens  afford  so  much  scope  for  every  variety  of 
treatment,  designs  are  found  to  suit  different  tastes,  and 
many  of  those  given  in  our  manual  can  be  appropri- 


68 


HOME  DECORATION. 


ately  worked  either  in  silks  or  in  applique  work ;  or,  if 
preferred,  may  be  painted  upon  silk,  satin,  or  velvet. 

Of  these,  that  represented  in  Fig.  37  would  be  very 
beautiful  for  a  three-paneled  screen,  the  cherry-blossoms 
being  selected  as  the  center,  and  the  apple-blossoms  dupli¬ 
cated  for  the  two  ends  ;  or  the  panel  in  Fig.  39,  the  corn- 
sheaf  with  birds,  would  make  a  very  effective  center  panel 
in  combination  with  the  cherry  and  apple-blossoms  on 
either  side.  Of  course,  it  would  answer  equally  well  as 
it  is,  for  a  twofold  screen. 

The  material  (if  the  screen  is  intended  for  an  ordi¬ 
nary  parlor  or  reception-room)  should  be  of  dark  cloth, 
and  the  silks  in  which  the  apple-blossoms  are  worked, 
pink  and  white,  while  the  center  panel,  with  a  ground 
of  lighter  tone,  might  have  the  blossom  clusters  in  scar¬ 
let.  Again,  should  painting  be  preferred,  the  designs 
executed  in  natural  colors  upon  white  velvet,  or  neutral- 
tinted  satin  or  silk,  would  be  very  lovely.  In  the  latter 
case,  the  hill-side  should  be  a  mere  suggestion,  only  suf¬ 
ficiently  indicated  to  act  as  memory,  and  not  by  any 
means  be  given  too  prominently,  because  the  branch 
represents  the  motive  of  the  design,  and  the  hill  is  a  mere 
accessory. 

We  point  this  out  more  particularly,  because  a  fre¬ 
quent  mistake  in  the  work  of  beginners,  either  in  artistic 
needle-work  or  in  painting,  is  a  tendency  to  give  undue 
prominence  to  accessories.  '  There  should  always  be  one 
spot  or  point  to  which  the  remainder  is  subordinate  ;  the 
key-note,  as  it  were,  or,  in  artistic  parlance,  the  highest 
light. 

While  this  can  not  be  too  much  insisted  upon  as  an 
absolute  necessity,  if  needle-work  is  to  deserve  the  name 
of  art,  we  are  equally  mindful  of  the  fact  that  the  other 


SCREENS. 


69 


Fig.  37. 

extreme,  which  is  often  met  with  in  the  work  of  amateurs, 
is  almost  equally  bad,  and  that  a  total  ignoring  of  snbor- 


TO 


HOME  DECORATION. 


dinate  facts  is  to  be  as  cautiously  avoided  as  tbe  reverse. 
Thus,  in  the  treatment  of  the  four  designs  in  Fig.  38, 


SCREENS. 


71 


which  are  perhaps  most  suitable  for  painting  upon  silk, 
satin,  or  velvet,  a  great  deal  will  depend  upon  the  treat¬ 
ment  of  the  distances.  In  the  first  panel  an  outlined  hill 
is  presented,  which  by  skillful  treatment  will  gain  in 
height  and  distance ;  and,  in  the  second,  the  clouds, 
which  are  merely  suggested,  afford  in  reality  the  limita¬ 
tions  of  the  swallows’  flight;  and  here  a  gray  effect, 
deepening  a  little  as  the  last  bird  is  lost  in  it,  would 
be  invaluable,  for  it  would  give  a  certain  imagination  to 
the  flight,  and  furnish  the  idea  of  a  coming  shower, 
which  the  instinct  of  the  birds  has  already  foreseen. 

The  water-lilies  in  the  lower  division  of  the  first  panel 
would  be  very  beautiful  if  worked  in  silks,  a  darker  shade 
of  green  marking  the  outer  edge,  which  the  water  kisses 
as  it  flows ;  the  flowers  rising  in  dead  white,  with  one 
golden  petal  (worked  in  French  knot),  and  the  reeds 
should  be  rendered  in  russet-brown  silks. 

The  design  in  Fig.  39  is  intended  for  a  double 
screen,  but  here  again  three  folds  can  be  managed  equally 
well,  by  duplicating  the  first,  and  making  the  corn- 
sheaf  with  the  birds  the  center.  Anything  prettier  or 
more  effective  than  this  last  can  scarcely  be  conceived, 
or  more  suitable  either  for  needle  or  brush.  If  treated 
by  the  former,  blue  satin  as  a  background,  with  the 
birds,  as  far  as  possible,  in  the  graduated  browns,  yel¬ 
lows,  and  whites  of  their  natural  plumage,  and  the  corn 
in  its  own  colors,  would  be  exquisite;  such  a  design 
affords  great  scope  for  individual  taste,  and  a  little  study 
of  the  different  lights  required  for  the  birds’  wings  in 
flight  or  at  rest  would  enable  the  worker  to  produce 
something  really  artistic,  whether  in  water-colors  or  in 
graduated  shades  of  silk.  Supposing  blue  to  be  the 
groundwork  of  the  center,  pink  might  appropriately  be 
1 


72 


HOME  DECORATION. 


Pie.  39. 


chosen  as  the  foundation  of  the  beautiful  blossoms  of  the 
side-panels,  which  should  be  worked  in  raised  white,  with 


SCREENS. 


73 


Fig.  40. 

delicate  green  leaves,  wliile  the  reeds  in  brown  would 
throw  up  the  whites  and  grays  of  the  duck  and  her  brood. 


74 


HOME  DECORATION. 


If  blue  satin  were  inserted  above  tbe  water-line,  and 
darker  silks  worked  in,  the  ripple  of  a  sunny  lake  would 
be  most  happily  suggested. 

In  the  design  in  Fig.  40,  a  great  deal  must  depend 
upon  the  sky  effects,  whether  it  is  worked  out  by  brush  or 
needle.  A  background  of  gray  satin  might  suggest  the 
clouded  summer  sky  beneath  which  the  swallows  are  fly¬ 
ing,  and  the  blue  of  their  plumage,  with  delicate  white 
tone  for  the  breasts,  would  be  in  delightful  harmony  with 
it ;  while,  for  the  “  butterflies  ”  sunning  in  the  warmth  of 
noon- day,  blue,  with  only  tiny  fleecy  flecks  of  transparent 
white,  would  not  only  make  the  design  “  alive,”  but,  if  it 
were  the  center  of  three,  would  contrast  admirably  with 
the  outer  panels  of  cloudier  foreboding. 

The  design  in  Fig.  41  is  somewhat  realistic.  In 
communicating  the  happy  effect  of  waving  to  the  field  of 
wheat,  the  artist  has  resorted  to  the  expedient  of  a  fallen 
branch  in  the  foreground,  upon  the  treatment  of  which 
much  will  depend.  Browns,  deep  enough  to  make  it  cer¬ 
tain  that  it  has  fallen  recently  (since  the  wheat  has  attained 
a  certain  height  at  least),  but  not  so  nearly  black  as  to 
suggest  an  artificial  coloring,  are  what  is  needed.  The 
golden  brown  of  the  wheat  upon  a  background  of  pearl- 
gray  would  be  very  pure,  while  at  the  same  time,  if  re¬ 
quired  for  constant  use,  a  more  serviceable  selection  of 
dark  color  for  the  groundwork  might  be  found  in  deep 
maroon  or  green  velvet  or  cloth,  while  the  companion 
panel  could  be  of  dark  crimson  or  olive-green,  with  the 
design  in  natural  colors. 

The  design  in  Fig.  42  is  intended  for  an  oblong  screen, 
and  the  artist’s  suggestion  for  the  treatment  is  a  back¬ 
ground  of  blue,  the  wheat  to  be  appliqued  on  in  brown 
gold  cloth,  and  the  ears  suggested  by  points  cut  out  and 


SCREENS. 


76 


SOME  DECORATION. 


Fig.  42. 


SCREENS. 


77 


worked  in  silk.  The  leaves,  in- applique  of  green  cloth, 
would  allow  of  light  and  shade,  and  the  highest  light 
should  he  on  the  fruit,  which  should  be  worked  in  raised 
silks  of  deepening  gold. 

Before  leaving  the  subject  of  standing  screens,  a  word 
may  he  useful  regarding  framing.  The  effect  of  good 
work  is  often  spoiled  by  the  use  of  ugly  and  inappropriate 
frames.  As  regards  color,  black  is  preferable  to  almost 
anything  else,  and  for  ordinary  rooms,  the  simpler  the  de¬ 
sign  the  better,  while,  for  more  elaborate  purposes,  a  frame 
to  match  the  heavy  furniture  in  style  would  be  desirable. 
Again,  if  any  particular  wood  is  in  use  in  the  decoration 
of  a  room,  it  would  he  well  to  select  that  for  the  frame 
of  the  screen  ;  at  the  same  time,  black  will  he  found  both 
suitable  for  every  kind  of  work,  and  for  almost  any  style 
of  decoration.  In  screens  in  which  birds  are  the  princi¬ 
pal  subject,  as  in  Fig.  40,  a  frame  with  carved  birds 
would  he  suggestive.  Large  folding  screens  for  bed¬ 
rooms  can  he  made  very  handsomely  in  brown  linens  or 
serge,  with  conventional  designs  in  crewels,  upright  and 
stiff  flowers  being  most  suitable  for  the  purpose.  Thistles 
make  an  admirable  design.  Dadoes  of  darker  material 
have  a  good  effect.  Upon  a  brown  linen  screen  a  dado 
of  dark  green,  worked  in  field-flowers,  with  the  pattern 
above,  on  the  brown  linen,  of  tall  garden  hollyhocks  or 
tiger-lilies,  in  a  mixture  of  crewels  and  silks,  is  very  effec¬ 
tive.  Such  a  screen  is  admirable  in  a  passage,  or  round 
a  bedroom  door.  Peacocks  have  always  been  favorite  sub¬ 
jects  for  screen  designs,  but,  to  be  at  all  desirable,  the 
form  must  be  strictly  conventionalized,  and  the  back¬ 
ground  dark,  to  soften  the  brilliant  colors  of  the  plumage, 
which  in  any  case  it  is  difficult  to  harmonize  equally  and 
well. 


78 


HOME  DECORATION. 


Japanese  designs  have  had  a  long  popularity,  and 
will  probably  continue  to  do  so ;  but  they  are  to  be  met 


with  in  such  infinite  variety  in  the  many  articles  adorned 
by  them,  that  suggestions  regarding  them  are  needless. 
As  a  rule,  each  division  of  a  Japanese  design  has  a  distinct 
end  and  meaning,  although  to  the  uninitiated  the  pat¬ 
terns  have  a  bewildering  disorder ;  but  a  little  study  shows 


SCREEN'S. 


79 


that  such  confusion  is  the  result  of  the  highest  art,  and  is 
in  strict  accordance  with  the  laws  of  symmetry  and  pro¬ 
portion. 

Some  of  the  latest  designs  for  larger  screens  have 


Fig.  44. 


been  representations  of  the  human  figure  in  action  ;  hut, 
although  great  results  have  occasionally  been  obtained, 


80 


HOME  DECORATION. 


and  good  effects  produced,  such  representations  are  very 
difficult,  and  a  few  stitches  out  of  place  here  or  there 
produce  such  lamentable  results  that,  as  a  matter  of  fact, 
human  beings  are  as  well  left  out  of  needle-work  designs 


Fig.  45. 


altogether.  In  ancient  embroidery,  we  are  accustomed 
to  the  stiff,  conventionalized  features  of  the  actors  in  the 


SCREEN'S. 


81 


dramatized  scenes  ;  but  in  our  more  natural  epoch,  unless 
something  fanciful  is  connected  with  it,  the  ‘‘human 


Fig.  46. 


face  divine  ”  presents  difficulties  which  are  almost  un¬ 
conquerable,  and  the  same  may  be  said  of  the  figure. 

There  is  absolutely  no  limit  to  the  variety  of  materials 
employed  for  smaller  screens.  Banner  screens,  fastened 


82 


HOME  DECORATION. 


to  the  mantel-shelf,  are  best  arranged  upon  lings  to  hang 
upon  a  cross-bar,  or  very  pretty  fittings  of  ebonized 
wood  are  made,  with  brass  ends  and  rings. 


Fig.  47. 


Of  the  designs  intended  for  such  a  purpose,  that  in 
Fig.  43  is  very  simple  and  at  the  same  time  very  effec¬ 
tive.  A  background  of  dead  gold  velvet  should  be  chosen, 


SCREENS. 


83 


with  a  strip  of  Macrame  lace  across  the  top,  as  nearly  the 
same  color  as  possible  ;  the  clover  might  be  rendered  in 
light  green  cloth,  appliqued  on,  and  the  variations,  veins, 
and  shades  could  be  worked  upon  it  in  darker  silks  or 


crewels.  This  screen  would  be  suited  either  for  an  up¬ 
right  stand  of  cherry-wood,  or  for  a  cross-bar  with  rings. 

The  screen  designed  in  Fig.  44  should  have  a  ground  of 
8 


84 


HOME  DECORATION. 


light-blue  velvet  or  silk  with  ball-fringe  to  match,  and 
the  design  of  apple-blossoms  could  be  either  painted  on 
the  silk  or  velvet,  or  worked  in  colored  silks.  Fittings 
of  black  wood  would  be  very  suitable.  Both  the  designs 
represented  in  Figs.  45  and  46  are  intended  for  ajj- 


Fig.  49. 


jplique  work.  The  lovely  disk  designs  of  the  first  should 
be  on  a  center  strip  of  pearl-blue,  and  the  top  and  hot- 


SCREENS. 


85 


tom  borders  are  intended  to  be  of  sage-green  plush, 
with  cord  and  tassels  to  match.  The  flowers,  which 


Fig.  50. 


are  wild  violets,  should  be  purple  with  light  centers,  and 
could  be  either  painted  or  embroidered.  In  the  second, 
an  old-gold  ground  is  recommended,  in  combination  with 
sage-green;  the  disks  should  be  of  light -yellow  satin, 
while  the  flowers,  “  Innocence,”  might  be  worked  in  pale 


86 


HOME  DECORATION. 


blue  with  yellow  centers  on  the  first,  and  the  clover  on 
the  second  should  be  in  pink.  The  cords  and  balls  of 
the  hanging  should  be  of  yellow,  and  the  fringe  at  the 
bottom  of  sage-green. 

Another  variety  is  afforded  by  Fig.  47,  in  which  great 
scope  for  fancy  is  allowed.  Almost  any  material  would 
be  suitable,  either  in  a  striped  pattern,  or  with  strips  laid 
on,  while  the  shield  in  the  center  could  be  worked  with 
heraldic  device  or  monogram.  Fig.  48  simply  represents 
a  screen  of  plain  stiff  or  dark  silk,  with  a  bouquet  of 
everlasting  flowers  fastened  beneath  a  broad  band  of  lace. 
The  color  in  this  screen  must  be  left  to  individual  taste. 
There  is  a  good  deal  of  novelty  in  the  design  given  in 
Figs.  49  and  50  of  conventionalized  sails.  The  material 
for  such  a  screen  might  be  striped,  or  alternate  strips  of 
different  colors  might  be  laid  upon  a  plain  ground,  while 
the  back  could  be  of  stuff  of  some  different  pattern. 
The  pulleys  could  be  represented  by  beads,  and  the  ropes 
by  twisted  silks  or  cords,  while  the  standard  or  cross 
work  would  be  effective  either  in  metal  or  wood. 

A  motto  might  be  appropriately  worked  upon  the 
pennant. 


VII. 


LAMBREQUINS  AND  SMALL  PANELS. 

Lambrequins  play  an  important  part  in  home  decora¬ 
tion.  They  are  favorite  subjects  for  the  employment  of 
needle-work,  for  two  reasons  :  first,  because  they  are  effec¬ 
tive,  and  secondly,  because  they  are  easily  and  quickly 
made.  A  set  of  curtains  for  even  a  small  room  is  some¬ 
what  of  an  undertaking,  hut  a  lambrequin  can  he  at¬ 
tempted  hy  the  most  modest  worker. 

The  largest  and  most  important  effort  in  this  direc¬ 
tion  is  in  the  ornamentation  of  the  mantel-shelf.  In 
houses  and  flats,  where  the  latest  improvements  are  made, 
chimney-places  are  becoming  very  attractive.  The  use 
of  tiles,  and  carved  or  ornamental  woodwork,  adds  charm¬ 
ingly  to  the  pleasant  aspect  of  a  room ;  hut  in  older  houses 
the  mantel  is  apt  to  b‘e  a  great  eyesore.  Sometimes  con¬ 
structed  of  the  commonest  material,  and  almost  always  of 
unsightly  shape  and  harsh  outline,  the  sooner  it  is  cov¬ 
ered  up  the  better. 

A  good  deal  of  judgment  is  required  in  the  selec¬ 
tion  of  mantel-decoration.  The  choice  of  curtains  and 
portieres ,  as  we  have  seen,  must  he  more  or  less  regu¬ 
lated  by  the  carpet  and  wall-papering,  and  now  the  lam¬ 
brequin,  which  is  a  distinct  feature  in  the  apartment,  may 
be  made  either  the  pleasantest  or  the  most  painful  object 
to  greet  an  entrance  into  a  room.  Once  more  we  must 


88 


HOME  DECORATION. 


insist  that  a  sense  of  fitness  and  harmony  is  the  most  es¬ 
sential  qualification  for  a  worker.  It  is  a  good  plan  to 
have  a  neutral  background  for  a  mantel  lambrequin,  and 
to  select  such  a  combination  of  colors  as  shall  make  a 
variety  in  the  general  effect  by  giving  a  warm  spot  of 
color  which  may  contrast  with  the  prevailing  tone  of 
the  decorations  of  the  room.  Different  shades  of  the 
same  color  are  often  pleasant  for  this  purpose,  the  man¬ 
tel  being  an  object  which  is  so  much  and  so  constant¬ 
ly  in  view,  and,  for  the  same  reason,  a  quiet  conven¬ 
tional  design  is  almost  always  suitable,  as  it  is  less  tir¬ 
ing  when  constantly  in  sight  than  a  more  suggestive  one 
might  be. 

Such  conventional  designs,  worked  in  one  colored  silk 
or  crewel  upon  darker  ground,  are  good  in  effect.  That 
given  in  Fig.  51,  of  conventionalized  dandelions,  could 
be  effectively  treated  in  such  a  way  ;  for  example,  if  upon 
claret-colored  or  maroon  velvet,  the  design  might  be 
worked  in  gold-colored  filoselle.  A  very  happy  idea  of 
a  chain  is  conveyed  by  the  links,  which  could  be  golden 
too,  or  might  be  of  emerald-green.  Such  a  lambrequin 
is  intended  to  fit  tightly  round  the  mantel,  the  founda¬ 
tion  being  made  in  the  first  instance  by  a  plain  wooden 
shelf,  projecting  one  inch,  but  otherwise  exactly  the  size 
and  shape  of  that  to  be  covered.  Upon  this  board  the 
same  kind  of  velvet  is  tightly  stretched,  and  the  hang¬ 
ing,  having  been  arranged  to  fit  it  exactly,  should  be 
nailed  on  with  invisible  tacks,  over  which  a  narrow  gimp 
of  maroon-color  might  be  fastened  with  brass-headed  nails 
above  each  flower  in  the  pattern. 

This  style  of  lambrequin  would  suit  nearly  every 
room,  and  would  be  very  easily  worked,  either  in  outline 
or  in  filled-in  embroidery.  Its  effect  would  be  extremely 


LAMBREQUIN'S  AND  SMALL  PANELS. 


89 


Fig.  52. 


90 


HOME  DECORATION. 


good  if  the  color  of  the  velvet  were  dead  gold,  and  the 
pattern  worked  in  bright  yellow  and  green  silks. 

When  the  chimney-piece  is  long,  the  center  depres¬ 
sion  is  an  improvement ;  otherwise,  it  may  be  omitted, 
and  the  velvet  cut  straight  along.  A  heavy  fringe  is  a 
favorite  addition,  but  a  scalloped  button-hole  edge  is 
quite  as  pretty,  and  in  many  instances  more  suitable,  or 
a  plain  band  of  deeper  color  than  the  ground  will  be 
found  very  effective.  A  less  formal  design  (as  in  Fig.  52) 
is  intended  for  a  greater  variety  of  colors.  The  flowers 
might  be  pink  or  white,  on  dark-brown  ground,  or,  as 
such  colors  are  delicate,  and  easily  catch  the  smoke  (which 
is  often  an  unenviable  accompaniment  of  a  pleasant  fire), 
darker  tints  might  be  selected,  always  with  due  regard  to 
the  general  effect  and  the  lights  and  shadows. 

Both  these  patterns  could  be  carried  round  the  sides, 
while  for  some  chimney-pieces,  especially  those  that  are 
built  high,  it  is  an  improvement  to  let  the  drapery  hang 
at  the  corners  ;  and,  again,  a  very  good  effect  is  produced 
by  simply  having  the  lambrequin  just  the  length  of  the 
mantel,  so  that,  fastened  to  the  wall  at  the  back,  it  hangs 
easily  over  the  front.  For  this  style  the  wooden  shelf 
can  be  dispensed  with. 

It  is  a  good  arrangement  to  carry  up  a  background 
of  the  same  material  as  the  lambrequin,  which  may  be 
arranged  in  folds,  or  hung  from  rings  upon  a  brass  rod, 
and  thus  form  an  effective  background  for  chimney  orna¬ 
ments.  Vases  and  plaques  show  up  well  upon  a  mantel¬ 
shelf  so  arranged. 

A  more  elaborate  pattern  than  any  yet  suggested  may 
be  found  in  Fig.  53,  which  could  be  variously  treated  ;  it 
might  either  be  worked  upon  serge  in  crewels,  or  done  in 
applique  work,  the  shades  of  the  foliage  being  conveyed 


LAMBREQUINS  AND  SMALL  PANELS 


91 


Fig. 


92 


HOME  DECORATION'. 


in  different  stuffs  or  clotli ;  or,  it  would  be  very  beauti¬ 
ful  in  raised  work,  in  colored  silks  with  gradations  of 
tone;  the  branch  might  be  given  in  dull  brown,  the 
leaves  in  shaded  greens,  and  the  fruit  worked  in  warm 
gold,  the  tints  varying  as  suggested  by  the  lights  and 
shadows  of  the  engraving.  Stamped  velveteen  would 
make  an  admirable  ground  for  this  design  ;  so,  too,  would 
heavy  brown  plush. 

Mantel-lambrequins  arranged  in  panels  are  very  effec¬ 
tive,  either  by  squares  worked  in  divisions  in  silk,  braid 
or  crewel,  with  designs  upon  each  square,  or  by  the  use  of 
lighter  material  for  the  panels,  which  can  be  laid  over  a 
darker  ground.  If  the  panel  patterns  are  different,  they 
should  yet  be  of  the  same  character  in  design,  and  should 
harmonize  well.  A  design  in  imitation  of  tiles  worked  in 
squares  of  red,  blue,  and  white  would  be  novel.  Summer 
lambrequins  can  readily  be  made  of  linen  worked  in 
crewels,  or  of  the  same  material  merely  trimmed  with 
lace  or  fringe ;  and  for  such,  the  simple  plan  of  hang¬ 
ing  them  over  the  shelf  without  elaborate  fixing  is  the 
better,  as  they  can  then  be  easily  removed  for  washing. 

A  pattern  composed  of  alternate  flowers  in  natural 
colors  worked  upon  a  light  ground,  as,  for  instance,  a  rose 
and  lily,  or  a  pansy  and  narcissus,  would  be  a  pleasant 
summer  design.  Sometimes  the  decoration  of  the  chim¬ 
ney-piece  only  commences  with  the  lambrequin,  and  is 
carried  on  by  the  assistance  of  a  cabinet-maker.  Shelves 
rise  above  the  mantel,  which  in  their  turn  receive  decora¬ 
tive  hangings,  and  upon  them  knickknacks  of  all  kinds 
find  a  place. 

The  skillful  needle-woman  whose  handiwork  has  con¬ 
verted  the  harsh,  unbroken  ugliness  of  the  mantel  into  a 
picturesque  or  artistic  combination,  will  seek  other  fields, 


LAMBREQUIN'S  AND  SMALL  PANELS. 


93 


and  the  mantel-lambrequin  will  be  the  precursor  of  many 
similar  attempts.  Smaller  ones  for  corner  brackets,  and 
tasty  valances  for  shelves,  will  find  a  place. 

The  material  and  design  of  these  must  depend  very 
largely  upon  the  places  they  are  called  upon  to  occupy ; 
a  stiff,  conventional  pattern  being  better  for  a  curtain 
destined  for  a  shelf,  and  a  more  fanciful  design  for  a 
corner  bracket.  Such  lambrequins  look  well  in  cloth, 
worked  in  silks,  and  edged  round  the  bottom  in  small 
scallops.  They  should  never  be  long  enough  or  heavy 
enough  to  weigh  down  the  brackets  they  adorn.  A  very 
pretty  little  hanging,  intended  for  a  corner  shelf  to  hold 
rare  china  cups,  has  been  made  of  olive-green  momie- 
cloth  with  a  design  of  a  flowering  tea-plant,  in  white 
flowers  with  golden  centers,  and  it  was  at  once  pretty 
and  suggestive. 

Panels.- — Panel  decoration,  as  we  have  seen,  must  in 
every  case  be  subordinate ;  at  the  same  time,  it  ought 
not  to  be  meaningless,  and,  while  any  very  decided  inten¬ 
tion  would  be  out  of  place,  suggestive  designs  are  advis¬ 
able. 

So,  in  Fig.  54,  which  provides  a  series  of  panel  designs, 
the  idea  conveyed  by  the  four  drawings  is  that  of  the 
seasons.  Natural  wood,  susceptible  of  high  polish,  will 
be  the  best  for  the  purpose,  and  natural  colors,  as  far  as 
possible,  should  be  selected  for  the  painting.  Such  panels 
would  look  well  arranged  at  intervals  near  the  mantel, 
or  might  be  placed  in  pairs — one  on  either  side — autumn 
with  the  falling  leaves,  and  winter  on  the  one  hand,  spring 
and  the  summer  cherries  on  the  other. 

Six  little  designs  for  smaller  panels  to  set  upon  brack¬ 
ets  or  mantel,  or,  in  fact,  anywhere,  are  given  in  Fig.  55, 
and  afford  sufficient  variety.  Sea-ferns,  intended  to  be 


94 


HOME  DECORATION. 


Fig  54. 

painted  in  sea-green  of  rather  a  dead  tone,  inclose  a  small 
sea-view,  while  coral,  in  its  delicate  twists,  might  be  of 


LAMBREQUINS  AND  SMALL  PANELS. 


95 


light  pink,  deepening  as  the  branches  meet  to  support  the 
little  sketch  of  a  sailing  vessel.  In  another,  a  landscape 


9 


Fig.  55. 


9G 


HOME  DECORATION. \ 


Fig.  56. 

gives  a  view  of  a  cottage  on  the  cliff,  while  beneath, 
sweet  clover,  eager  birds,  and  a  shelf  with  bric-a-brac, 


LAMBREQUINS  AND  SMALL  PANELS. 


97 


are  all  alike  suggestive  and  appropriate  for  the  purpose 
for  which  they  are  intended. 

It  would  be  difficult  to  find  anything  more  generally 
suitable  for  the  panels  of  a  door  than  the  designs  given  in 
Fig.  56.  These  represent  trailing  hops,  one  of  the  very 
prettiest  effects  in  nature,  and  one  which  by  its  freedom 
and  lightness  is  suitable  for  almost  any  position.  It  is 
strange  that  this  pattern  is  so  seldom  found  in  decora¬ 
tion,  for  all  who  have  seen  growing  hops  must  admit  that 
there  is  no  plant  which  exceeds  it  in  beauty  and  decora¬ 
tive  effect.  The  tender,  delicate  green  of  the  blossom, 
with  a  darker  shade  of  the  same  color  for  the  abundant 
foliage,  and  still  lighter  touches  for  the  tendrils,  could  not 
fail  to  please,  while  the  effect  would  be  heightened,  sup¬ 
posing  the  background  to  be  of  light  wood,  by  the  browns 
of  the  branch-like  stems. 

Panels  for  cabinets  are  often  ordered  of  successful 
artists,  while  many  elegant  reception-rooms  are  decorated 
after  designs  elaborated  by  successful  painters.  Indeed, 
panel-painting,  if  it  is  to  exceed  the  modest  limits  already 
suggested,  can  only  be  successfully  attempted  by  a  master 
of  the  craft,  and  we  would  dissuade  amateurs  from  all 
hut  the  most  simple  attempts  at  such  decoration. 


VIII. 


INCIDENTAL  DECORATIONS. 

Under  this  heading  we  will  consider  the  many  oppor¬ 
tunities  for  decoration  by  the  needle  and  brush  in  the 
less  important  objects  of  the  home.  Their  name  is  le¬ 
gion,  and  many  a  modest  room  has  been  made  beautiful 
by  the  industry  and  good  taste  of  the  lady  inhabiting  it. 

Chair-Backs  and  Cushions. — The  seats  and  backs  of 
chairs  are  often  enriched  by  a  skillful  use  of  embroidery. 
A  broad  strip,  three  inches  in  width,  let  into  the  material 
that  forms  the  covering,  is  effective,  and,  if  a  free  running 
pattern  is  selected  for  the  back,  it  may  be  repeated  upon 
the  seat.  The  design  given  in  Fig.  57  offers  the  advan¬ 
tage  of  novelty  ;  it  represents  a  conventionalized  sea-fern, 
and  would  be  effective  either  worked  in  silks  upon  velvet 
or  in  crewels  upon  stuff — probably  appearing  better  in 
the  richer  material.  The  sea-fern  in  combination  with 
sea-weed  in  the  companion  design,  Fig.  58,  would  be  even 
prettier,  because  it  would  admit  of  greater  blending  of 
colors ;  deeper  greens  for  the  blades  of  sea-grass,  and 
greenish  browns  for  the  weed,  would  look  well  upon  a 
ground  of  rich,  deep  crimson;  but,  necessarily,  much  must 
depend  upon  the  dominant  color  of  the  furniture. 

The  effect  of  a  handsome  chair-back  is  thoroughly 
spoiled  if  it  is  out  of  harmony  with  the  remainder  of  the 
furniture  in  a  room,  or  at  variance  with  the  carpet  and 


INCIDENTAL  DECORATIONS. 


99 


hangings.  An  attempt  has  been  made  to  introduce 
velvet  chair-coverings,  worked  in  raised  stars  in  heavy 


100 


HOME  DECORATION. 


bullion  ;  but,  besides  being  very  costly  in  the  production, 
such  efforts  are  ill  repaid  by  the  effect,  as  the  bullion  tar¬ 
nishes  so  very  soon,  and  needs  constant  attention. 

The  covers  of  large  chairs  look  better  with  a  more 
general  pattern,  covering  the  entire  material,  but  these 
are  seldom  undertaken  at  home ;  good  effects  have  been 
obtained  by  the  selection  of  handsome  French  cretonnes, 
the  patterns  of  which  are  worked  over  in  raised  silks. 
But  such  designs,  however  effective,  are  very  tedious,  the 
ground  being  so  fully  covered  by  the  pattern. 

Loose  covers  for  chairs  are  pretty  when  made  of  cool 
gray  linens,  with  bias  of  decided  color  used  as  piping ; 
strips  laid  on  down  the  back  and  across  the  seat,  of  some 
darker  material  worked  in  silk  or  crewels  of  the  same 
tone  as  the  bias,  are  very  effective.  Plush  covers,  with 
central  designs  for  seat  and  back,  look  handsome,  and  a 
border  with  conventional  pattern  goes  well  with  them. 

Rocking-chairs  can  be  made  ornamental  as  well  as  be¬ 
guiling  by  the  variety  of  decoration  that  can  be  bestowed 
upon  them — coverings  of  every  kind  of  material  being 
made  to  slip  on  over  the  back :  velveteen,  with  a  broad 
running  pattern  worked  on  linen  laid  on  down  the  cen¬ 
ter  ;  linen,  with  strips  of  darker  material ;  momie-cloth, 
simply  embroidered  in  a  running  pattern  in  twisted  silks  ; 
in  short,  anything  that  industry  can  effect  and  taste  sug¬ 
gest  is  attempted. 

Cushions  for  deep  Cane  Chairs,  again,  can  be  made  of 
almost  any  material,  and  of  almost  any  design.  Peacock- 
blue,  dead  gold,  or  maroon  velvet,  harmonize  well  with 
the  chairs  that  are  finished  off,  as  so  many  are,  with  black 
and  gold. 

A  long,  round  cushion  to  support  the  head,  fitting  into 
the  neck,  is  a  very  essential  addition  to  the  luxury  of  a 


INCIDENTAL  DECORATIONS. 


101 


rocking-chair.  It  may  be  made  of  any  soft  material, 
shaped  like  a  small  bolster  and  stuffed  with  wool ;  then  a 
cord  is  attached  to  either  end,  by  means  of  which  it  hangs 
over  the  back  of  the  chair,  to  be  adjusted  according  to 
the  needs  of  the  sitter.  Such  neck-cushions  once  used 
are  rarely  dispensed  with. 

Sofa-  Cushions  admit  of  endless  variety.  Soft  plushes, 
with  applique  designs,  look  very  handsome ;  so  do  silk  and 
satin  covers,  worked  in  crewels  or  in  raised  silk  embroid¬ 
ery.  If  a  design  to  be  appliqued  on  plush  is  selected,  the 
pattern  to  be  laid  in  should  be  darker  than  the  ground,  and 
should  be  outlined  in  silks  of  gay  colors  or  gold  thread. 
Edgings  of  handsome  cord  are  necessary  to  finish  such  a 
cushion,  and  tassels  to  match  the  darker  shades  would 
make  a  handsome  addition.  Squares  of  cretonne  to  be 
worked  in  raised  silks  are  very  often  obtained  for  cushion- 
covers,  or  cloth  of  deep,  plain  color  can  be  very  elabo¬ 
rately  worked  in  a  rich  design  covering  the  ground  almost 
entirely.  Flowers,  foliage,  or  fruit  are  the  most  suitable 
patterns  for  such  a  purpose. 

Table-Covers. — The  material  and  design  for  table-cov¬ 
ers  must  vary  with  the  room  and  table  for  which  they  are 
destined.  For  a  dining-room  table,  nothing  is  handsomer 
than  deep  crimson  cloth,  with  a  heavy  bordering  of  dead 
gold,  finished  by  a  conventional  design  in  the  corners,  if 
desired ;  and  for  a  library  the  same  style  of  table-cover 
would  be  suitable,  but  it  might  be  of  deep  maroon  or 
dark  blue,  with  a  bordering  somewhat  less  heavy  of  dark¬ 
er  material  worked  in  gold-colored  silk.  Instead  of  a  bor¬ 
der,  a  thick,  deep  fringe  is  sometimes  preferred  ;  it  gives  a 
look  of  importance  and  substantiality  to  the  cloth,  and  the 
fringe  might  be  headed  by  a  narrow  line  of  deep-toned 
color. 


102 


HOME  DECORATION. 


The  fashion  of  kettle-drums,  or  afternoon  teas,  so 
largely  indulged  in  now,  has  given  rise  to  the  introduction 
of  dainty  little  tables,  just  of  the  right  size  to  hold  the 
necessary  complement  of  cups  and  saucers.  For  the  fur¬ 
ther  honor  of  the  occasion,  pretty  cloths  in  endless  char¬ 
acteristic  devices  are  brought  into  the  service.  Usually 
of  the  finest  linen,  plenty  of  scope  is  afforded  in  them  for 
the  use  of  decorative  needle-work.  Fig.  59  provides  a  very 
quaint  and  pretty  design  for  such  a  purpose.  Worked 
in  fine  blue  crewels  or  in  silks,  such  a  pattern  would  be 
very  suitable.  The  design,  if  the  table  were  large  enough, 
might  be  worked  sufficiently  far  from  the  edge  to  allow 
of  a  deep  fringe  of  drawn  work.  Less  elaborate  designs 
could  be  used,  either  running  right  round  the  edge  as  a 
border,  for  which  purpose  simple  flower-sprays  or  vine- 
patterns  are  prettiest,  or  as  designs  for  each  corner  and 
the  center. 

A  fanciful  Japanese  pattern  is  not  inappropriate;  or  a 
Chinese  mandarin  in  one  corner,  matched  by  a  branch  of 
the  tea-plant  in  another,  while  quaint  little  cups  and  sau¬ 
cers  figure  in  the  corresponding  ones,  would  not  look 
amiss.  Monograms  or  coats-of-arms  are  often  elaborately 
worked  in  the  center.  Filoselle  r^pon  fine  linen  washes 
well,  and  has  a  richer  effect  than  crewels  or  ordinary  silks. 

A  nice  cover  for  a  little  odd-and-end  table,  upon  which 
old  china  or  bric-a-brac  are  displayed,  can  be  made  of 
stamped  velvet,  edged  with  dark  lace,  and  should  be 
made  to  fit  the  table. 

Elaborate  silk  and  velvet  cloths  are  out  of  place  if  a 
table  is  intended  for  meals,  even  if  only  for  tea;  for 
such  a  purpose  linen  alone  is  appropriate.  Expensive 
materials,  easily  spoiled  by  a  spot  of  butter  or  the  spilling 
of  a  cup  of  tea,  are  only  a  source  of  anxiety,  and  therefore 


IN  GW  ENT AL  DECORA  TI ONS. 


103 


i?iu.  59. 


104 


HOME  DECORATION. 


Fig.  60. 


INCIDENTAL  DECORATIONS. 


105 


not  beautiful  in  such  a  connection,  however  handsome 
they  may  be  in  themselves. 

Slips,  to  be  placed  upon  a  handsome  cloth,  can  be  made 
pretty  by  the  use  of  embroidery  and  drawn  work.  If 
made  of  fine  linen,  a  border  of  blue  or  crimson  might  be 
laid  on  at  each  end  and  wrought  in  gold  or  crimson  silk, 
the  edges  being  then  simply  fringed  out,  or  elaborated  in 
drawn  work. 

Fig.  60  represents  a  design  for  the  border  of  a  table¬ 
cloth  for  dining-room  or  library.  This  could  be  very 
effectively  worked  in  deep  green  and  crimson  silks  upon 
a  ground  of  dark  brown  or  purple.  It  might  be  treated 
in  applique  work,  but  would  be  a  little  difficult ;  the 
little  branch-stumps  in  deep  brown  would  relieve  the 
green  and  crimson  if  worked  on  a  purple  ground.  Again, 
it  would  be  very  handsome  in  velvet,  with  a  plush  bor¬ 
dering  laid  on  and  worked  in  raised  embroidery. 

Doilies ,  or  little  round  mats  to  place  under  finger- 
glasses,  are  often  made  very  pretty  indeed.  Elaborate 
designs  are  out  of  place  for  these,  and  it  is  foolish  to  take 
handsome  satin  or  silk  for  such  a  purpose.  Applique 
lace  is  often  used,  and  simple  designs  appliqued  on  to  a 
groundwork  of  net  are  appropriate  and  pretty  ;  but  it  is 
more  usual  now  to  make  them  of  fine  white  linen  or 
lawn,  and  embroider  designs  in  outline-stitch  either  in 
filoselle ,  silk,  or  crewel.  Drawn  work  round  the  edge 
is  very  effective,  and  handsome  results  have  been  ob¬ 
tained  by  elaborate  drawn  work  inclosing  a  center, 
square  or  round,  upon  which  a  design  is  worked  or 
sometimes  etched  in  pen  and  ink.  Quaint  figures,  of 
the  Kate  Greenaway  order,  are  very  suitable  for  the 
purpose ;  scenes  from  popular  operas,  or  little  views  of 
well-known  places,  all  find  admirers.  A  not  inappropri- 


106 


HOME  DECORATION. 


ate  plan  is  to  select  groups  of  flowers  or  fruit,  or  pretty 
sprays  of  vine  or  creepers,  to  correspond  with  the  pattern 
usually  found  upon  dessert-plates.  The  two  comic  designs 


given  in  Fig.  61  might  he  done  in  outline  work  in  blue 
silk  upon  white  linen.  Sometimes  cut  work  is  appliqued 
on  to  silk  or  satin  of  deep  crimson  or  blue;  but  such 


INCIDENTAL  DECORATIONS. 


107 


dainty  doilies  are  very  apt  to  receive  wine  and  fruit 
stains,  which  are  difficult  to  remove ;  for  this  reason,  sim¬ 
ple  white  linen  is  best  for  the  purpose.  Doilies  are  best 
made  round,  in  shape  to  fit  the  plates  for  which  they  are 
intended,  but  sometimes  they  are  made  square  and  folded 
across.  For  etching  purposes,  the  surface  of  the  linen 
should  first  be  prepared  by  the  application  of  gum,  dried, 
and  ironed  upon  the  wrong  side.  Before  beginning  to  etch, 
the  material  should  be  tightly  stretched  upon  a  flat  board. 

Window -Shades. — Crimson  window -shades  are  no 
longer  so  popular  as  they  were,  and  as  there  is  a  general 
feeling  that  plain  holland  ones  are  not  sufficiently  deco¬ 
rative,  it  is  becoming  very  usual  to  attempt  to  make  them 
less  formal  by  embroidery.  Sometimes  gray  linen  is 
chosen  for  such  a  purpose,  and  a  design  which  covers 
the  entire  ground  worked  in  outline-stitch  in  crewels ; 
but  the  objection  to  this  is,  that  the  light  coming  through 
varies  so  much  upon  sunshiny  or  cloudy  days  that  no 
confidence  can  be  placed  in  the  effect  it  may  have  at  dif¬ 
ferent  times. 

For  this  reason,  we  wTould  advise  limiting  the  decora¬ 
tion  of  shades  to  a  bordering,  which  can  be  prettily  worked 
and  laid  on.  Such  a  bordering  might  be  placed  not  only 
upon  the  ends,  but  up  the  sides,  in  narrow  strips,  and  the 
design  given  in  Fig.  62,  of  morning-glories,  would  be 
both  effective  and  appropriate.  It  might  be  worked  on  a 
strip  of  dark  linen,  in  many  colors,  as  far  as  possible  in 
the  blues,  pinks,  and  crimsons  of  the  natural  flowers, 
while  the  leaves  should  be  of  pleasant  green.  The  run¬ 
ning  border  below  might  be  of  narrow  blue  silk  braid 
stitched  on.  A  conventional  pattern  for  a  border  is 
always  appropriate,  and  beneath  it  a  cotton  fringe  or  a 
broad  gimp  gives  a  nice  finish  to  the  shade.  Buff  linen 
10 


Fig.  62. 


HOME  DECORATION. 


Fig. 


INCIDENTAL  DECORATIONS. 


109 


shades  offer  advantage  where  the  sun  is  very  powerful, 
as  they  throw  a  softened  light  into  the  room.  Borders 
intended  for  shades  of  that  character  require  less  variety 
of  colors  in  the  design.  Browns,  crimsons,  or  deep  olive- 
greens  would  harmonize  best. 

Upon  a  nursery  shade  such  a  design  as  that  in  Fig. 
63  would  be  appropriate,  and  would  please  the  little  ones. 
It  should  simply  be  worked  in  dark  brown  crewels  in 
outline-stitch. 

Piano  Panels  and  Coverings. — As  every  article  of 
furniture  that  can  be  decorated  receives  its  meed  of  atten¬ 
tion,  the  piano  does  not  form  any  exception  to  the  rule. 
It  has  become  very  usual  to  remove  the  paneling  in  an 
upright  instrument,  and  in  its  stead  provide  a  piece  of 
embroidery,  in  outline  pattern  or  close  silk  work.  Such 
a  design  as  that  furnished  in  Fig.  64  strikes  us  as  singu¬ 
larly  appropriate.  Two  little  birds  in  an  apple-tree  bough 
are  pouring  out  floods  of  melody,  while  a  rabbit,  entranced, 
pauses  in  his  delight,  and  erects  his  ears  to  their  utmost 
limit  in  his  desire  to  catch  the  strain  in  its  entirety. 
This  design,  worked  upon  crimson  or  deep-blue  satin  in 
outline-work,  the  blossoms  only  in  raised  French  knot, 
would  be  simply  charming. 

Square  hangings  to  hide  the  unsightly  back  of  a  piano 
when  it  is  wheeled  out  into  the  middle  of  the  room  are 
very  commonly  provided.  Sometimes  these  are  simply 
of  muslin  drawn  over  colored  calico,  with  a  heading  run 
upon  a  brass  rod,  and  fitting  the  width  of  the  instrument ; 
but  they  can,  of  course,  be  much  more  elaborate.  A  hang¬ 
ing  of  some  neutral  color  is,  perhaps,  the  best,  with  a  con¬ 
ventionalized  bordering  on  darker  material,  the  colors  on 
no  account  to  be  too  bright.  Or  the  back  can  be  simply 
covered  with  a  plain  square  of  sateen,  or  the  coarse  an- 


110 


HOME  DECORATION. 


dressed  silk  now  sold  at  the  stores,  with  a  trimming  of 
Macrame  lace  sewed  on  at  the  top  and  bottom. 

A  covering  for  the  top  of  a  cottage-piano  is  usually 
only  a  broad  strip  of  material  with  a  design  worked  as  a 
border.  Holbein-work  would  look  very  well  in  such  a 
position.  A  handsome  design,  finished  off  with  plaited 
fringe  to  hang  over  the  ends,  would  be  appropriate. 
Heavier  materials  are  often  used,  but  are  not  so  desir¬ 
able;  neither  are  the  heavy  ball  and  chenille  fringes 
which  are  sometimes  seen. 

For  a  grand  piano,  complete  covers  are  made,  and 
there  is  plenty  of  scope  for  as  much  decoration  as  is  de¬ 
sired.  Such  coverings  can  be  of  any  material,  from  cool 
gray  linen,  made  to  slip  on  and  off  easily,  and  simply 
decorated  with  colored  pipings,  to  the  elaborate  covering 
of  satin  or  silk  worked  in  rich  embroidery,  which  is  as 
easily  soiled  or  stained  as  the  instrument  it  hides  could 
be  scratched.  A  serviceable  cover  could  be  made  of  dark 
maroon  or  dark  purple  cloth,  just  large  enough  to  go  on 
easily,  with  a  pattern  worked  upon  a  bordering  in  gold 
silks  or  yellow  crewels,  and  finished  off  with  a  narrow 
worsted  fringe  if  desired. 

Tidies.— For  the  infinite  varieties  of  these  apparently 
indispensable  articles  in  modern  homes,  it  is  quite  impos¬ 
sible  to  give  any  definite  directions.  But  a  practical  sug¬ 
gestion  may  be  offered  to  the  effect  that  such  accessories, 
if  they  must  be  allowed,  should  b q  fastened,  on  to  the  chair 
or  sofa  for  which  they  are  intended.  Nothing  irritates 
an  unfortunate  man  more  than  the  inevitable  disposition 
that  tidies  have  to  stick  to  his  broadcloth !  and  nothing 
gives  a  more  untidy  look  to  a  room  than  these  same 
“tidies”  when  out  of  place.  Who  does  not  know  how 
instinctively  a  lady  sets  them  straight,  and  how  annoyed 


INCIDENTAL  DECORATIONS. 


Ill 


she  feels  ever}7  time  she  does  it !  But,  at  any  rate,  as 
tidies  seem  to  be  considered  indispensable,  let  them  he 
fixtures,  just  tacked  into  the  place  they  are  intended  for 
with  a  few  stitches,  or,  failing  that,  pinned  securely. 

Baskets ,  again,  are  a  prolific  source  of  decorative  effort. 
Made  now  in  very  loosely  plaited  straw-work,  they  are 
susceptible  of  almost  any  amount  of  ornament.  Some¬ 
times  they  are  simply  loosely  lined  with  silk  or  satin, 
which  is  pulled  through  the  interstices,  and  gives  an  ap¬ 
pearance  of  honey -comb  pattern,  Avhich  is  pretty  ;  or  they 
are  embroidered  in  crewels,  generally  in  raised  work, 
which  is  effective,  and  well  thrown  up  by  the  color  of 
the  straw.  Pretty  effects  are  produced  simply  by  bands 
of  bright  ribbon  sewn  on,  a  bunch  of  wheat,  grass,  or  even 
corn-ears,  being  passed  through  them  and  secured  with 
a  bow.  Baskets  are  now  made  for  such  a  variety  of  pur¬ 
poses,  from  the  substantial  structure  intended  to  hold  the 
logs  for  the  winter  fire,  to  the  dainty  work-basket  in 
which  baby’s  fairy  garments  are  hidden  away,  that  it  is 
impossible  to  offer  suggestions  that  can  in  any  way  cover 
the  ground.  Suffice  it  to  say  that,  for  most  of  the  pur¬ 
poses  that  are  included  in  so  wide  a  range,  bright,  cheery 
colors  are  appropriate,  and  there  is  not  so  much  reason, 
as  in  many  other  branches  of  decoration,  to  say,  Be  care¬ 
ful  in  your  selection  of  variety.  Such  legitimate  objects 
for  ornament  may  well  be  left  entirely  to  individual  taste 
and  fancy. 

Inexpensive  Ornaments. — Under  this  heading  we  offer 
a  few  practical  suggestions  to  those  whose  means  are 
more  limited  than  their  ambition.  It  is  quite  wonderful 
to  consider  how  much  can  be  done  in  really  effective  dec¬ 
oration  with  the  very  simplest  materials.  Tapes,  narrow 
ribbons,  buttons,  leather,  even  brass  curtain-rings,  can  all  be 


112 


HOME  DECORATION. 


Fig.  65. 

surprisingly  useful.  Fig.  65  gives  several  designs  for  such 
attempts.  In  one  of  them,  buttons,  ordinary  pearl  buttons, 


INCIDENTAL  DECORATIONS. 


113 


are  used,  to  produce  quite  an  effective  pattern.  Such  cir¬ 
cles,  with  the  inclosed  cross,  could  be  laid,  upon  any  deep- 
toned  material,  and  would  look  extremely  well  as  border¬ 
ing  for  a  portiere.  Suppose  such  a  hanging  were  of  blue 
momie-clofh,  a  deep  crimson  border  with  the  white  but¬ 
tons  would  look  very  handsome ;  or  the  case  might  be 
reversed,  and  crimson  chosen  as  the  body  of  the  curtain, 
blue  for  the  border. 

Side  by  side  with  this  design  is  one  for  a  combination 
of  leather  and  buttons,  a  larger  button  forming  the  cen¬ 
ter  of  the  leather  star.  Such  strips  of  leather  are  easily 
obtained,  either  in  ordinary  yellow,  or  in  better  materials, 
as  kid.  or  morocco.  So,  too,  the  diamond  design,  of  leath¬ 
er,  and  round  “knobby”  buttons,  would  look  very  well 
over  any  dark  material,  and  might  be  appropriately  fin¬ 
ished  off  by  the  Grecian  pattern  in  leather  with  its  outer 
bordering  of  buttons. 

Apart  from  these,  the  suggestion  in  the  same  design 
for  a  use  of  ordinary  brass  curtain-rings  is  new  and  effec¬ 
tive.  The  silk  for  fastening  them  together  should  accord 
with  the  use  for  which  the  decoration  is  destined.  Sup¬ 
posing  the  ring  pattern  is  to  be  placed,  over  dark  blue 
velvet  or  cloth,  or  deep  maroon  velvet  or  plush,  the  fast¬ 
enings  might  be  of  crimson  silk,  worked  in  chain-stitch 
and.  so  easily  secured.  Such  a  linking  could,  if  necessary, 
secure  each  ring  to  the  background,  or  they  could  be  se¬ 
cured  at  intervals,  sufficiently  close  to  prevent  their  bulg¬ 
ing  out  from  the  background.  The  narrow  bordering 
which  completes  the  design  could  be  omitted,  or  used,  as 
thought  best.  Lighter  material  inserted  above  the  dark 
ground  used  for  the  buttons  would  introduce  a  variety. 

It  will  be  readily  seen  that  such  suggestions  open  up 
a  field  for  almost  infinite  variety. 


IX. 


WOOD-CAEVING. 

Wood-carving  presents  so  many  pleasant  possibilities 
for  ladies,  that  a  work  on  home  decoration  would  be  in¬ 
complete  without  some  reference  to  it.  It  is  a  mistake  to 
suppose  that  this  art  is  difficult ;  its  rudiments  are  very 
easily  acquired  from  such  directions  as  we  shall  give,  and, 
once  mastered,  it  is  always  possible  to  obtain  designs,  eith¬ 
er  by  copying  from  nature  or  by  reproducing  some  of  the 
endless  variety  that  are  to  be  met  with  on  every  hand. 

It  is  scarcely  more  difficult  to  indent  or  carve  a  panel 
in  low  relief  than  it  is  to  transfer  a  pattern  to  the  sur¬ 
face  of  the  wood,  and  after  a  little  practice  in  panels  it 
will  be  found  quite  easy  to  carve  “  in  the  round,”  that  is, 
to  make  complete  figures. 

Sets  of  light  tools  can  be  purchased,  but  ladies  should 
avoid  buying  those  known  as  “  carving  tools,”  as  they  are 
usually  too  heavy  for  small  and  weak  hands,  and  ama¬ 
teurs  require  simple  implements.  Those  known  as 
“  print-cutters’  tools,”  which  are  small  copies  of  the 
wood-carver’s  implements,  are  the  best,  and  small  handles 
are  sold  to  which  these  instruments  are  easily  fitted. 

The  tools  required  include  chisels  of  three  sizes;  one 
of  them  an  eighth  of  an  inch  in  width,  the  others  re¬ 
spectively  a  quarter  and  a  half  inch  wide.  After  buying 
these  tools,  it  is  requisite  to  get  them  sharpened,  and  for 


WOOD-CARVING. 


115 


carving  in  wood  the  chisels  should  be  ground  rather  slant¬ 
ingly,  in  order  that  the  cutting  edge  may  be  at  an  angle 
with  the  sides  instead  of  square  with  them  ;  by  this  means 
a  sharper  edge  is  obtained,  invaluable  in  cutting  the  fine 
edges  of  an  elaborate  design. 

An  oil-stone  must  also  be  purchased  to  set  the  edges, 
for  although  this  is  done  in  the  first  instance  where  the 
tools  are  bought,  each  worker  must  learn  to  do  it  as  occa¬ 
sion  requires.  The  stone  is  fixed  in  a  block,  and  the 
whole  process  consists  in  pouring  a  few  drops  of  oil  upon 
the  stone,  and  passing  the  tool  rapidly  to  and  fro,  grasp¬ 
ing  it  in  the  right  hand,  and  pressing  the  fore  and  middle 
fingers  upon  the  instrument,  while  the  thumb  supports  it 
beneath.  It  is  only  necessary  to  move  the  tool  regularly 
and  keep  it  at  the  same  slant  all  the  time. 

After  using,  the  stone  must  be  carefully  wiped,  or  it 
will  become  incrusted  with  the  steel  raspings  from  the 
tools. 

Next  after  the  chisels  come  the  gouges,  which  are 
merely  chisels  of  another  kind,  the  surfaces  being  bent  in 
a  position  parallel  with  the  length,  so  that  a  curved  groove 
is  obtained  upon  using  them  instead  of  a  flat  cut.  Gouges 
can  be  bought  of  various  sizes,  and  stones  for  grinding 
them  are  sold  with  them. 

Many  other  tools  are  often  spoken  of  in  connection 
with  carving,  but  in  reality  a  lady  possessed  of  a  few 
chisels  and  gouges  of  different  sizes  has  sufficient  stock 
for  all  the  preliminaries  of  the  art,  and  as  she  progresses 
will  learn  the  necessary  additions  to  be  made. 

F or  the  purpose  of  carrying  on  wood-carving,  a  strong 
deal  table  should  be  procured,  the  stronger  and  heavier 
the  better,  as  nails  must  be  driven  in  and  holes  bored  in 
it.  The  table  should  stand  in  a  good  light. 


116 


HOME  DECORATION. 


The  first  attempt  at  such  work  must  necessarily  he  a 
very  simple  one.  An  ivy-leaf  is  the  easiest  representa¬ 
tion  that  can  he  attempted.  For  the  purpose,  a  piece  of 
smooth  pine-wood  should  he  chosen,  as  free  from  knots 
as  possible,  and  about  three  quarters  of  an  inch  in  thick¬ 
ness.  Perfectly  dry,  well-seasoned  wood  is  necessary, 
and  old  boards,  such  as  are  to  be  found  stored  away  in 
most  houses,  would  answer  admirably  for  a  beginning. 
A  sketch  of  the  leaf  to  be  carved  must  first  be  drawn 
upon  paper,  the  back  of  which  is  then  rubbed  with  red 
chalk ;  this  paper  is  then  pinned  on  to  the  wood,  and 
pressed  over  with  some  blunt  instrument — a  bodkin, 
crochet-needle,  or  pin-head  will  do — and  upon  removing 
it  the  outline  will  be  found  upon  the  wood.  Deficiencies 
in  the  outline  must  be  corrected  in  pencil,  or,  if  hard  wood 
is  used,  in  pen  and  ink. 

This  satisfactorily  accomplished,  the  first  process  of 
carving,  known  as  “  stabbing-out,”  follows.  This  can  be 
effected  in  two  ways — either  by  using  the  chisel  and  sim¬ 
ply  stabbing  the  outline  of  the  leaf,  by  holding  the  tool 
upright  and  pressing  directly  downward,  or  by  the  use  of 
a  little  notched  instrument  called  a  “  pattern-wheel,” 
which  turns  on  pressure  and  with  its  little  points  dents 
out  the  pattern  as  it  is  pushed  along  the  outlined  edges. 

When  once  the  design  is  thus  distinctly  outlined  into 
the  wood,  it  is  a  good  plan  to  deepen  the  depression 
made  by  the  chisel  by  running  the  curved  gouge  round 
the  edge,  until  a  groove  about  the  sixteenth  of  an  inch  in 
depth  is  made. 

The  next  operation,  of  cutting  away  the  wood  be¬ 
tween  the  outlines,  requires  caution.  The  chisel  should 
be  held  in  the  right  hand,  the  wrist  of  the  left  being  held 
firmly  on  the  panel,  and  the  tool  guided  by  the  forefinger 


WOOD-CARVING. 


117 


of  the  left  hand.  As  little  wood  as  possible  should  be 
removed  at  first,  until  the  operator  thoroughly  under¬ 
stands  how  to  cut  with  or  against  the  grain  of  the  wood. 
To  clear  the  wood  between  the  outlines,  it  is  best  to 
work  across,  that  is,  not  in  the  direction  of  the  fibers.  It 
is  better  to  begin  the  operation  of  cutting  out  the  wood 
about  a  quarter  of  an  inch  from  the  outline,  and  to  shave’ 
very  gradually  toward  it,  relieving  the  wood  at  each  cut, 
and  setting  the  leaf  free ;  experience  will  soon  teach  the 
best  method  for  securing  accuracy  in  the  outline. 

All  this  should  be  done  very  carefully  and  slowly, 
until  the  wood  is  entirely  removed  between  the  pattern 
edges,  leaving  the  pattern  in  relief;  and  care  must  be 
taken  always  to  cut  thoroughly,  and  never  to  tear  away 
or  dig  the  wood.  A  great  authority  upon  the  subject 
says :  “  Leave  no  rags,  jags,  or  fragments  ;  clear  out  com¬ 
pletely  every  angle  and  corner  ;  get  your  work  as  smooth 
as  possible  with  whatever  tool  you  may  be  using,  and  let 
every  stroke  of  your  chisel  or  gouge  be  regulated  by  de¬ 
sign.”  This,  of  course,  can  only  come  by  practice ;  but 
by  following  these  simple  rules,  by  cutting  slowly  and 
carefully,  a  little  at  a  time,  by  holding  the  tools  firmly 
and  leaving  the  pattern  sloping  outward  to  be  finished, 
the  amateur  will  be  surprised  at  the  results  obtained  after 
very  little  practice. 

The  mid-ribs  of  the  separate  lobes  of  the  leaf  now 
call  for  attention.  These  must  first  be  stabbed  out,  as  in 
the  case  of  the  outline,  and  then  the  surface  of  the  lobe 
be  slanted  down  to  them  from  side  to  side. 

The  second  stage  is  merely  a  repetition  of  the  first 
process,  the  ground  being  uniformly  lowered,  and  then 
the  appearance  of  the  leaf  claims  consideration.  Certain 
portions  of  the  surface  must  be  lowered  to  present  an  ap- 


118 


HOME  DECORATION. 


pearance  of  reality,  parts  remaining  at  tlieir  original  ele¬ 
vation,  others  being  cut  or  shaved  away  to  present  an  un¬ 
dulating  surface.  Here  a  knowledge  of  art  is  useful  in 
suggesting  the  right  distribution  of  light  and  shade, 
which  must  be  conveyed  by  the  ingenious  use  of  the 
gouges  of  different  degrees  of  curvature.  Some  begin¬ 
ners,  distressed  at  the  unequal  appearance  of  the  carved 
surface,  have  recourse  to  artificial  means  for  smoothing 
and  leveling,  and  employ  glass-paper,  or  sand,  or  even 
small  sticks  glued  and  dipped  in  sand,  which  they  use  as 
polishers ;  but  wood-carving  ought  to  depend  upon  no 
such  artificial  aid — it  should  remain  as  the  tools  leave  it. 

In  carving,  the  study  of  nature  is  very  important ;  by 
this  means  a  knowledge  of  the  different  fibers  in  various 
leaves  is  acquired,  and  wood-carving,  from  being  merely 
mechanical  amusement,  becomes  in  reality  an  art. 

Such  simple  instructions  suffice  to  prove  how  much 
might  be  accomplished  for  home  decoration  by  mere 
beginners  in  the  art  of  wood-carving ;  it  is  not  our  pur¬ 
pose  to  offer  directions  for  the  more  elaborate  work 
which  can  be  studied  in  schools,  and  which  requires 
more  preparation  and  the  use  of  more  complicated  in¬ 
struments  than  are  easily  procurable.  The  first  principles 
once  learned,  it  is  easy  for  a  lady  to  adapt  them  to  orna¬ 
mentation,  and,  from  the  use  of  the  chisel  and  gouge,  she 
Avill  very  probably  have  recourse  to  the  fret-saw,  for  the 
elaboration  of  designs  for  brackets,  book-stands,  shelves, 
etc. 

The  fret-saw  is  an  instrument  consisting  of  a  frame 
made  up  of  two  side-pieces  and  a  cross-bar.  The  blade 
or  saw  is  kept  in  its  place  by  two  iron  pins  which  pass 
through  the  handles,  and  a  cord  is  wound  round  the 
upper  ends  of  the  side-pieces.  Before  using  it,  a  hole 


WOOD-CARVING. 


119 


must  be  cut  in  the  wood  winch,  is  to  be  operated  upon, 
into  which  the  end  of  the  saw  is  introduced,  and  then, 
by  very  gentle  pressure  upon  the  handles,  it  is  worked 
over  the  outlined  design.  Yarious  sizes  can  be  obtained, 
and  the  fret-saw  can  be  bought  in  connection  with 
treadles  which  are  worked  by  the  foot ;  but  it  must 
never  be  forgotton  that  the  saw  only  works  as  it  is 
pressed  forward,  and  it  can  only  be  drawn  back  by  being 
lightly  lifted.  In  designing  a  pattern  to  be  worked  by 
the  fret-saw,  it  must  be  borne  in  mind  that  an  equal 
distribution  of  form  and  of  space  is  indispensable,  that 
there  may  not  be  too  great  a  space  in  one  part,  or  too 
much  wood  in  another.  A  very  good  way  of  testing  the 
design  before  attempting  to  cut  it  out,  is  to  fill  in  all  the 
parts  that  are  to  be  removed  with  Indian  ink,  leaving  the 
pattern  itself  white ;  by  this  means  it  is  easy  to  judge  of 
the  proportions  of  space  and  wood.  Another  thing  to  be 
considered  is  that  the  pattern  for  fret-sawing  must  always 
be  connected  with  the  border  at  certain  points. 

When  finished,  carving  may  either  be  left  in  the 
natural  condition  of  the  wood,  or  it  may  be  thought  desir¬ 
able  to  polish  or  stain  it.  Sweet-oil  mixed  with  umber 
will  both  polish  and  darken  the  surface  of  oak,  and  vari¬ 
ous  dyes  can  be  obtained  at  the  stores.  For  ordinary 
black  stain,  the  best  ink  applied  three  or  four  times  with 
a  brush  is  excellent.  Different  woods  take  different 
dyes,  and  this  must  be  a  matter  of  individual  taste  and 
experience. 

Sometimes,  in  carving  or  sawing,  a  crack  or  hole 
occurs ;  in  such  a  case,  it  is  a  good  plan  to  make  some 
dust  with  a  coarse  file  from  the  wood  and  convert  it  into 
paste  with  glue,  filling  the  cavity  with  it.  Directions 
are  always  given  with  the  different  machines  for  fret- 
11 


120 


HOME  DECORATION. 


sawing  tliat  are  now  in  use.  Work  done  by  machines  is 
necessarily  more  perfectly  accurate  than  that  accom¬ 
plished  by  the  hand-saw  or  chisel ;  but  it  is  also  less 
artistic,  and  most  ladies  who  attempt  decoration  in  wood¬ 
carving  will  be  content  with  the  beautiful  results  they 
can  obtain  by  the  slow  but  satisfactory  use  of  ordinary 
implements.  It  must  not  be  forgotten  that  in  wood¬ 
carving,  more  than  in  almost  any  other  art,  the  stages 
from  simply  indenting  or  cutting  patterns,  up  to  the 
more  perfect  execution  of  objects  in  high  relief  or  “  in 
the  round,”  are  so  easy  and  gradual  that  the  amateur 
who  can  master  the  first  may  easily  aspire  to  the  last, 
and  from  simple  carving  intended  for  the  lid  of  a  box, 
or  the  ends  of  a  book-stand  or  a  bracket,  proceed  to  the 
elaborate  ornamentation  of  the  larger  objects  that  go  to 
make  up  the  beauty  and  comfort  of  a  home. 


THE  END. 


AD  VER TISEMENTS. 


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DONE  UNDER  OUR  SUPERVISION. 

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ALL  AROUND  THE  HOUSE; 

OR, 

HOW  TO  MAKE  HOMES  HAPPY. 


BY 

Mrs.  HEN  BIT  WAED  BEECHER, 

Author  of  “Motherly  Talks,”  etc. 


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step  to  an  intelligent  journey  through  Europe.” — From  Preface. 

III. 

Schools  and  Masters  of  Painting. 

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V. 

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AD  VER  TI SEME  NTS. 


ESTERBROOK’S 

STANDARD  AND  SUPERIOR 


LEADING  NUMBERS: 


Fine  Points, 

Nos. 

333, 

232, 

128. 

Medium  Points, 

u 

048, 

14, 

130. 

Blunt 

u 

122, 

183, 

1743. 

Broad  “ 

u 

161, 

239, 

284. 

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THE  ESTERBROOK  STEEL  PER  CO., 

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A  D  VER  7  '1  SEMEN TS. 


THIRTY-SIX  YEARS’  BUSINESS .  EXPERIENCE. 

NEW  YORK  liflNSURANCE  CO. 

PURELY  MUTUAL.  DIVIDENDS  ANNUALLY. 

Surplus,  New  York  State  Standard,  over  $9,000,000. 

AGE.  STRENGTH.  CAREFUL  MANAGEMENT. 
48,000  Policies  in  force.  $56,000,000  paid  to  Policy-holders. 

ANNUAL  INCOME,  OVER  CASH  ASSETS,  OVER 

$8,000,000  $43,000,000 


The  Company’s  Home  Office,  846' &  848  Broadway,  New  York. 


THE  NEW  YORK  LIFE  INSURANCE  COMPANY  has  been  doing  business  for 
thirty-six  years,  and  now  offers  to  those  desiring  life  insurance  a  Combination,  of  Advan¬ 
tages  which  only  long  experience,  a  large  and  well-established  business,  and  carefully  per¬ 
fected  plans  and  methods  can  afford.  Among  these  advantages  are:  (1)  The  absolute 
Security  of  its  Policies;  (2)  Insurance  at  Low  Cost;  (3)  Liberal  and  Equitable  Dealing. 

Having  always  b<jen  a  purely  mutual  Company,  policy-holders  receive  their  insurance 
at  actual  current  cost,  and  its  age.  strength,  prosperity,  and  economical  management  com¬ 
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of  policy-holders  alone.  In  the  decision  of  questions  involving  their  rights  the  invariable 
rule  is  to  consider,  not  the  technical  legality  of  the  claim  alone,  but  also  its  real  justice. 

The  non-forfeiture  system  of  policies  originated  with  this  Company  in  1860,  and  has 
since  been  adopted — though  sometimes  in  questionable  forms — by  all  other  companies. 
This  feature  saves  millions  of  dollars  every  near  to  policy-holders ,  and  for  this  they 
are  indebted  primarily  to  the  NEW  YORK  LIFE.  The  system  as  now  perfected  by 
the  New  York  Life  secures  safety  to  the  Company  (without  which  all  interests  are 
jeopardized),  and  justice  to  the  insured. 

The  Company’s  thirty-sixth  annual  report  shows  a  very  large  gain  in  assets  and  sur¬ 
plus,  in  policies  and  insurance  in  force,  and  in  premium  and  interest  income.  Its  excess 
of  income  over  expenditures ,  during  lSS^,  was  greater  by  far  than  that  of  any  other 
life  company  in  the  country. 

MORRIS  FRANKLIN,  Pres.  WM.  H.  BEEFS,  Vice-Pres.  and  Actuary. 

THEODORE  M.  SANTA,  Cashier.  CHARLES  WRIGHT,  M.D., 

D.  O’DELL,  Sup’t  of  Agencies.  HENRY  TUCK,  M.D., 

f, 


Med.  Exam. 


GETTY  CENTER  LIBRARY 


3  3125  00 


41  0519 


